Questo e Quello
If you’re like La Cieca, you’re snowed in today, so how about let’s pass the time recalling great operatic snow moments?
The cher public are indeed making “progress” when it takes only a few hours for one of you (Orlando to be exact) to identify our most recent Regie quiz as The Rake’s Progress, as devised by Opera Cake fave Krzysztof Warlikowski for the Staatsoper Unter den Linden. There’s video of this production as well as…
So the gossip La Cieca has been picking up is that at some point there were plans at the Met to open the 2012-13 season with Eugene Onegin featuring Mariusz Kwiecien, Anna Netrebko and Matthew Polenzani. The soprano and baritone were also booked to open the 2013-2014 season with new production of La bohème. Then…
As we all already know (those of us addicted to Brad Wilber‘s Met Futures, and who among us is not?) the Metropolitan Opera already has plans to produce two operas of Donizetti’s so-called “Tudor Trilogy.” Anna Bolena opens the 2011-2012 season featuring Anna Netrebko (left) and Maria Stuarda follows on the following season starring Joyce…
A loyal member of the cher public writes: “Very nice performance of Fanciulla last evening. Although I still love Debbie, and am quite willing to see her in anything she does, I think this was the best of the three Fanciullas I’ve seen so far.”
This just in from the Met’s press office: “Matthew Polenzani will sing the role of Alfredo in La Traviata for all performances this season. For the January 19, 22, 26 and 29 performances, Polenzani replaces Francesco Meli, who has withdrawn due to illness.”
In 1804, E.T.A. Hoffmann became acquainted with Schlegel’s translations of Spanish plays in Spanisches Theater. During an illness in 1807, he returned to the Schlegel and discovered Calderon’s Die Scharpe und die Blume, finding it an ideal operatic subject. He composed the opera in Warsaw and Berlin, and began seeking a theatre that would present…
The opera composer and bon vivant was born December 22, 1858.
The title of this site says it all: Fotografie orribili di cantanti.
La Cieca wonders if the horrific accident during last night’s performance of the Spider-Man musical (which promises to re-open Wednesday night with “additional safety protocols“) reminds you of, well, anything familiar?
UPDATE: Thanks to the generosity of a member of the cher public who wishes to remain anonymous, a ticket has been obtained for the parterre reviewer!
La Cieca wishes a festive and safe (if such a combination is possible) holiday season to all the cher public, who in turn are invited to offer each other such greetings in the comments below.
Long ago, in a galaxy far away – I mean, the era before supertitles became common in opera houses around the world – you could always tell the text-mad opera fan. He was the one who arrived early to the theater and spent the remaining minutes to curtain hunched over his libretto booklet, trying to…
“Faye Dunaway‘s Master Class Movie: What The Hell Happened?” [Michael Musto]
“The decades-overdue debut of Sir Simon Rattle at the Met Friday night demonstrated brilliantly just what we’ve been missing: His conducting of Pelléas et Mélisande is the musical pinnacle of the season.” [New York Post]
La Cieca is simply overjoyed to announce a handy and fascinating innovation at parterre.com: The Author Archive Page. Each of your doyenne’s stable of scribes will be assigned his and/or her own unique page where every story under that byline will be easily accessible—as, for example, the many and wondrous reviews of Ercole Farnese. Look…
It’s a sad story, really. Debussy and Maeterlinck had what the kids would call Major Drama over who was to sing Melisande (Mary Garden vs. the person you’ve never heard of) and so Maeterlinck didn’t see Pelleas until years after Debussy had died, so he never got to be like “word!” or, I suppose, “mot!”
If I had been handed Clari’s score without being told the name of the composer, I might have thought it was a lost Rossini opera, albeit a minor one. I would have probably assigned it to the early period of Rossini’s career, because it shows more similarities with works like La pietra del paragone and…
La Cieca has just heard that Ferruccio Furlanetto has canceled this afternoon’s performance of Don Carlo at the Met. Giorgio Giuseppini will sing Filippo.
Congratulations to Opera Chic, named “Essential Opera Blogger” in the current Opera News by a panel consisting of Brian Kellow and Tristan Kraft.
At long last, the Met Saturday afternoon broadcasts begin again today with Don Carlo at 12:30 PM. What better way to spend a lazy winter afternoon than with Margaret, Ira, and a chat in La Casa della Cieca?
Our Own JJ (pictured) reveals what makes him cry. [Musical America]
The message of last times’s Regie quiz couldn’t be clearer: “La Cieca, schafft Neues!” Baritenor got the answer in less time than it takes to hum a Leitmotif: it was indeed Die Meistersinger, in a production by Andreas Homoki for the Komische Oper Berlin. This week’s quiz, therefore, is tougher, and La Cieca will also…
The updates on Brad Wilber‘s new Met Futures page are arriving almost daily now, with perhaps the most startling recent news the “removal” of Juan Diego Flórez from a projected new production of I puritani in April 2014. But there’s more to it, after the jump.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.