Emmanuelle Haïm and Calixto Bieito collaborate on a new production of Handel’s opera seria from the Dutch National Opera.
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The legendary Calixto Bieito production of Wagner’s music drama, streamed from Staatsoper Stuttgart.
It seems everyone is raving over Calixto Bieito‘s production of L’incoronazione di Poppea at Opernhaus Zürich.
A telecast from the Norske Opera of Puccini’s Tosca, directed by Calixto Bieito.
The Met has canceled its new production of La forza del destino, which was to have been directed by Calixto Bieito.
The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.
After five flops in a row, Mr. McVicar continues to win new assignments from the Met.
A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.
Your doyenne and her faithful confidante Dawn Fatale are off later this week for a safari, seeking the wild Regie in its natural habitat.
“The description I read of this Boris, which I have not seen…”
In Mussorgsky’s Boris Godunov, all the Russian people starve and suffer, but none has suffering like the mental agonies of Tsar Boris.
The opening of Calixto Bieto‘s production of Fidelio at the English National Opera provides yet one more opportunity for the fraternity of British critics to flaunt their credentials as a passel of overeducated prats.
La Cieca is happy to present the following readymade blind item.
As she herself points out, Zerbinetta is perhaps the first woman besides “the inimitable Heather MacDonald” to write a serious critique of Calixto Bieito‘s production of Die Entführung aus dem Serail.
The gripping Calixto Bieito/Kent Nagano production of Boris Godunov from the Bayerische Staatsoper—with authoritative Alexander Tsymbalyuk in the title role…
Vot tsar’ vash!” Here is your Tsar, the 38-year-old Ukranian bass Alexander Tsymbalyuk.
The new Boris Godunov from the Bayerische Staatsoper (directed by Calixto Bieito and conducted by Kent Nagano) looks absolutely remarkable.
Anyone looking for orgiastic obscenity in Calixto Bieito‘s production of Carmen at the London Coliseum, will be bitterly disappointed, writes Rupert Christiansen.
The repertory for the upcoming season of the English National Opera (also known as “Peter Gelb‘s shopping list”) boasts the world premiere of a new opera by Philip Glass, The Perfect American, which imagines the last days of Walt Disney.
If it wasn’t anything special as art or even entertainment, Lyric Opera of Chicago’s recent production of Rinaldo (March 24) does offer an excellent peg on which to hang an argument about the future of opera in America.
Forgive La Cieca’s less-than-avid posting schedule over the last few days, please!
In what surely must count as La Cieca’s idea of a perfect storm, Zachary Woolfe interviews Calixto Bieito in the New York Times.
Following the jump, about 45 minutes of highlights from last week’s telecast of Bizet’s opera from the Gran Teatre del Liceu, as sung by Fabio Armiliato, Béatrice-Uria Monzon, Maria Bayo and Kyle Ketelsen, directed by Calixto Bieito.
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