tête de peau
Oh, what more delightful headline can be imagined? Well, perhaps “Florida free-fall sends Giuliani from hero to zero” — that’s great news too. But back to important matters. Did La Cieca mention that for his current stint in Dead Man Walking The Teddster has shaved his head?
Reply
Juan Diego Flórez will make his role debut as the Duke of Mantua in a new production of Rigoletto on March 31. The event will mark the inauguration of “The International Opera Festival Alejandro Granda” in Peru. Puppylicious Flórez is pictured here with Latin Grammy winner Gian Marco, with whom he shared the stage for…
Sponsored
Call for submissions: parterre box‘s new Talk of the Town
parterre box is launching a new themed regular feature curated by our readers and opera fans across the world! We are asking for your favorite clips, recordings, and anecdotes to get people chatting, listening, and thinking.
Prolific pundit Alex Ross is at it again. The cropped-headed critic’s latest New Yorker piece is all about The Well-Tempered Web. (And pity poor La Cieca, who in the wake of all the Alex-related news of late, has had to force herself not ever to use the headline “Call Her Miss Ross.”)
As if Tomotaka Okamoto weren’t enough, here’s another countertenor looming on the horizon: Max Emanuel Cencic. Now, don’t get La Cieca wrong. She loves her some countertenors, and she frankly adores how Herr Cenic rocks the tête de peau. She warmly congratulates him on his burgeoning discography and of course wishes him well in his…
Sponsored
Reach your audience through parterre box!
parterre box, “the most essential blog in opera” (New York Times), is now booking display and sponsored content advertising for the 2023-2024 season. Join Carnegie Hall, Lincoln Center, Warner Classics and many others in reaching your target audience through parterre box.
A glimpse of beloved soprano Gabriella Benackova in an unusual role: Emilia Marty in Vec Makropulos. Tete-de-peau tenor Roman Sadnik is Gregor.
La Cieca is back in her beloved Sunnyside late this evening, even though the Metropolitan Opera opening night began at 6:30. By her watch, the performance of Madama Butterfly ran not quite four hours including intermissions and curtain call. Oddly, though, the evening didn’t seem unnaturally long — maybe because La Cieca enjoyed a disco…
Exclusive opera reviews, commentary, top reads from us and our friends.
Delivered to your email weekly…ish.