Third leg
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
Stephen Costello
36 pieces since 2007 — in 14 roles, at 11 companies, most often at Metropolitan Opera.
36
pieces
14
roles
11
companies
20
years
By role
13 pieces as Metropolitan Opera — stats above show all coverage for Stephen Costello.
View all
The clown of God
Rigoletto is the perfect opera. The story is straightforward and powerful; none of the action occurs backstage or between scenes or twenty-seven years before curtain rise; and the ethical anvil lands not once but twice, on the title character singing, “La maledizione!” The curse!
On a par with tuberculosis
Come back, Big Clock! We need you more than ever!
Romeo and Gilda
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
The damned don’t cry
Michael Mayer‘s production of La traviata at the Met is so timid, so devoid of insight, so cynically pandering and gaudy that I hardly feel like it even matters what I think of the performances of the current cast.
It’s a Mantua’s world
Verdi’s Rigoletto returned to the Met Friday in the stilted “Las Vegas” production by Michael Mayer, with mostly competent singing from a good-looking cast.
Lounge act
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
Don’t axe me why
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
Lost and found
Verdi must have gotten tired of tossing and turning by now and has gone back to resting in peace.
Donizetti queens report
Today is the dress rehearsal/preview of Anna Bolena at the Met, and naturally La Cieca has infiltrated the event with a veritable phalanx of spies. After the jump: all your latest Anna Netrebko related news.
Does a big voice need defending?
Our Own Little Stevie reflects on the Met’s new Macbeth. I’d like to admit a guilty pleasure of mine: I’ve secretly been waiting with a lot of anticipation for Maria Guleghina to sing in Macbeth and Norma this year. I have not told this to many people because it seems that the common expectation has […]
Di faci tuttavia splende il Costello!
Our Own Gualtier Maldè reflects on last night’s Met Lucia:The Met has often been accused and rightly so of ignoring young talent and waiting too long to hire up-and-coming new stars while hanging on to declining old favorites well past their sell-by date. Occasionally a promising new talent from the Young Artists Program will blossom […]
Someone else does the heavy lifting for a change
La Cieca introduces a new feature on parterre.com, the guest review. First up to bat is longtime print zine stalwart Little Stevie, who saw Lucia di Lammermoor last night. Take this as you will: based on this evenings performance the new Met Lucia is pretty bad. The acclaimed Ms. Zimmerman simply doesn’t know how to […]
I’ll take the fall
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).
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
