Diana Soviero chats with Roger Pines about six decades of performing, four decades of teaching, and how she’s handing the tradition off to the next generation.
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
Teresa Stratas turned 83 yesterday and Trove Thursday features one of the recent past’s most interesting yet frustrating artists in two rare broadcasts.
The American Opera Society introduced many important singers to New York City audiences, but few were as controversial as the Greek soprano Elena Souliotis; Trove Thursday offers her local debut (at age 23) in Anna Bolena with Marilyn Horne, Janet Baker, Plácido Domingo and Carlo Cava.
It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
On this, the occasion of her 37th birthday [see below], La Cieca is happy to repeat the story of how she came to be born (as first told in the pages of parterre box, issue #28.
The headlined phrase is a neologism (La Cieca should know, because she just made it up) and therefore will require a bit of explanation. Bear with your doyenne, cher public, because there’s eventually going to be a CD review in here somewhere. So. Many, many years ago, ere the earth was young and all that,…
La Cieca received this letter yesterday. If you have reviews, opinion pieces, appreciations, or (as in this case) a Letter to the Doyenne, please email to [email protected]. Saving New York City Opera?
La Cieca muses at some length on the audience’s relationship with the audience, but then Diana Soviero demonstrates the point in only a few seconds of singing in the third act of Faust. (Neil Shicoff and Samuel Ramey aren’t exactly slouching either in this 1986 performance.) Faust (Gounod) Act 3
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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