Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
By Joel Rozen
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La Cieca will leave this one as an exercise for the reader.
By La Cieca
Kristine Opolais has withdrawn from the role of Elsa in The Royal Opera’s forthcoming new production of Lohengrin, to ensure her full recovery from a routine abdominal medical procedure.
By La Cieca
Andris Nelsons and Kristine Opolais announced today they have divorced.
By La Cieca
Sonya Yoncheva will make her role debut in the Met’s new production of Puccini’s Tosca next season replacing Kristine Opolais.
By La Cieca
Since no doubt the New York contingent of the cher public are already shuddering in anticipation of a Kristine Opolais Tosca as a “gala” New Year’s Eve treat, La Cieca thought you might enjoy—again, surely too strong a word—a preview of sorts.
By La Cieca
The Met promises eight months from now a new production of Tosca and insiders are already betting that Kristine Opolais as the titular Roman diva may well be replaced before opening night.
By La Cieca
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
By Porgy Amor
While some once-popular Met operas have fallen into neglect in the past quarter century, Rusalka has returned regularly since its 1993 premiere.
By Porgy Amor
Okay, it’s only a couple of preview clips, but La Cieca has to say she’s bewildered by what seems to be some cross-repertoire meta-direction at the Met, especially as concerns Kristine Opolais (not pictured).
By La Cieca
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
By Porgy Amor
Is Manon Lescaut a cold, clinical tale of the splendors and pitfalls of transactional sex, or is it a romantic Italian opera at its most lush and melodic?
By Poison Ivy
There is a simple elegance to the single-composer recital album format. For the listener in the mood for, say, Puccini, it’s a chance to delve into his music without any pesky interruptions by those other guys like Verdi or Massenet. And if one is also in the mood for a particular singer’s art, then the…
By Ali Kashani
During the Munich Opera Festival performances of Giacomo Puccini’s Manon Lescaut (28th and 31st of July 2015) Kristine Opolais will replace Anna Netrebko in the title role.
By La Cieca
“Sonya Yoncheva will sing her first-ever staged performances of Mimì in Puccini’s La Bohème at the Met on November 14, 20, 24, 28, December 1 and 5, replacing Kristine Opolais.
By La Cieca
The scene: a vocal audition, sometime in the past. A young, blond soprano approaches the podium. Her aria: “Un bel di.” She sings. Before she gets to the second “Chi sara” she’s rudely interrupted.
By Poison Ivy
Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.
By Dawn Fatale
“In Kristine Opolais, who gave her first Met performance in the title role on Friday night, the company has a Butterfly with the soaring voice and penetrating theatrical presence to meet Minghella’s elegant dramaturgy head on.”
By La Cieca
