A dramatic symphony with incidental voices: that’s how Riccardo Muti’s Otello, which inaugurated the 2008 Salzburg Festival, could be aptly described. Beginning with the initial allegro agitato with its piercing lashes, it instantly appears obvious that Muti’s intention is to go for the jugular, nail the audience to their seats and never give them a […]
La Cieca hears that two spectacular events crowned last night’s performance of La sonnambula at the Vienna State Opera.
Robert Tuggle, Director of Archives for the Metropolitan Opera, has announced a migration of the company’s supremely useful online database to a new software system. He’s looking for ideas for “new features that might improve on a system that we are already pleased with.”
It’s the return of the Twitter Operaplot Competition! [The Omniscient Mussel]
“An article in Arts incorrectly identified the opera Madame Butterfly as a spin-off of the musical Miss Saigon. Miss Saigon is actually a spin-off of Madame Butterfly. (Apr. 13, p. 19)” [The Justice]
As we approach the end of the first all-Peter Gelb season at the Met, there’s already a certain amount of editorial judgment on the General Manager’s “aesthetic agenda.” That’s only fair, of course: judgement is what critics do.
La Cieca has just heard that James Morris and Hei-Kyung Hong have withdrawn from Cincinnati Opera’s upcoming production of Die Meistersinger von Nürnberg, due to “recuperation from surgery” and “family issues,” respectively.
Enthusiastic Met intermission commentator Blythe Danner and her Oscar-winning daughter/blogger Gwyneth Paltrow are on the short list…
Which Brit of medium height has been added to the short list for a prestigious post that (paradoxically) would represent a homecoming?
On Friday, April 16th, American Opera Projects and Opera on Tap presented a triple bill of new works at Galapagos Art Space in DUMBO, including what is essentially a pastiche, a collection of songs, and a one act opera. There were highs, there were lows; there was booze and opera in the same room. I […]
Our operatic riddle of the day: what is due to be seen in New York in September, assuming the enormous weight doesn’t rupture another disc?
The American conductor (about whom Wikipedia mildly says “There is some mystery surrounding his early life”) was born in London on April 18, 1882… or perhaps 1887. Or was it Pomerania in 1889?
Even with two weeks to guess, cher public, you were stumped by our most recent Regie quiz. (Hurrah for La Cieca!) However, you did manage to have some interesting conversations along the way, so it wasn’t a total wash.
The American soprano was born April 18, 1948.
The setting is Salzburg, September of 2009. Anna Netrebko and Daniel Barenboim partnered for a recital with lofty aspirations and difficult works mere months after her unfortunate Lucia at the Met. Thanks to the foresight to record this evening, we now have a record of a great night – hopefully a turning point – in […]
The Traviata chat will begin at 12:45 beginning in preparation for the 1:00 start time of tonight’s performance.
What could be more exclusive than this? La Cieca offers you a sneak preview of Renée Fleming‘s MTV-style video for “Endlessly!”
Fans of Natalie Dessay (and there are legions of you!) will be overjoyed to hear that, now that the Met’s Hamlet is no longer on the boards, she has completely recovered from whatever it was that was ailing her. The Gallic nightingale is currently gracing the stage of the Wiener Staatsoper in Bellini’s La sonnamubula. […]
“Lights are brighter; the elegantly gowned Tosca no longer plops down on a filthy church floor — and police chief Scarpia’s Act 2 hooker four-way stops short of oral action.” [NYP]
“Now, let me think… where did I leave that vocal score?”
It’s safe to say that there has been a lot of talk about Rufus Wainwright’s opera Prima Donna, which received its London premiere this week.
Luc Bondy’s Tosca returned to the Met on Wednesday night with an entirely new set of principals and conductor. The new trio of principal singers, all making local role debuts, could not redirect and redesign the production but they could allow their individual talents to outshine their surroundings.
With all due respect to our charming new commenter Nina Munk, the difference between the Met and the Bavarian State Opera is not something that can be measured in dollars or euros. It’s more about aesthetic sensibility.
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.
