Yu’s on first
So what’s the news from the Met press office this late Friday afternoon?
So what’s the news from the Met press office this late Friday afternoon?
The Bayreuth Festival is trying something new and outreachy this season.
Which tenor, who shall remain nameless, is about to be replaced in a series of Met performances by a young colleague?
Matthew Polenzani will sing the role of Leicester in all performances of the Met’s new production of Donizetti’s Maria Stuarda this season.
No, not a Regie quiz—though that feature will return soon enough now that the season is up and running—but rather an image from the new Dmitri Tcherniakov production of Jenufa for the Opernhaus Zürich.
No, that’s not how it’s supposed to work, Heidi Waleson.
Which VIP at the Met’s opening night barely lasted through Belcore’s entrance aria before hustling out the door and leaving a gaping lacuna in the guest seating chart?
After last night’s opening of L’elisir d’amore, the chirping of the first critics is heard.
It’s taken more than a month for La Cieca to return to the Regie to the Rescue competition thanks in part to the generous wordage of the cher public.
The cher public (not pictured, one hopes) are invited to discuss off-topic and general interest topics right up to the moment the lights are dimmed.
“In the space of a few words, the leading role in a major new production had been reassigned. But why?”
As the season gears up, so does the chat at La Casa della Cieca.
UPDATE: A video preview of the new Elisir follows the jump.
But the part she seems most excited about is Lady Macbeth in Verdi’s treatment of Shakespeare’s Scottish play.
“Upon my word,” exclaims La Cieca (pictured at right, in the background), “I could almost swear I see a few empty seats on the other side of theater for the Met’s opening night performance of L’elisir d’amore!”
Frankly, the response to the Elektra quiz was uneven. La Cieca will explain after the jump.
“Is a work an opera simply because its creators choose to call it one?”
For all its rich evocations of 18th century Vienna and skillful balancing of slapstick and the sublime, Der Rosenkavalier’s popularity has always been rooted in its vivid principal characters.
“Considering one of the season’s star singers is a plus-size female impersonator, opera this fall is anything but a drag.”
Now that La Cieca (pictured) has returned to New York, she can hardly wait to hear your off-topic and general interest discussion for the week.
And finally, we come to the last night of our Ring-watching experience, cher public.
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