The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
![[Insert joke here]](https://parterre.com/wp-content/uploads/2018/07/christine-large.jpg)
La Cieca will leave this one as an exercise for the reader.
Kristine Opolais has withdrawn from the role of Elsa in The Royal Opera’s forthcoming new production of Lohengrin, to ensure her full recovery from a routine abdominal medical procedure.
Andris Nelsons and Kristine Opolais announced today they have divorced.
La Cieca literally cannot even.
Sonya Yoncheva will make her role debut in the Met’s new production of Puccini’s Tosca next season replacing Kristine Opolais.
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.
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.
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.
While some once-popular Met operas have fallen into neglect in the past quarter century, Rusalka has returned regularly since its 1993 premiere.
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).
The Richard Tucker Music Foundation’s annual gala promises (note, promises) a particularly glittery roster this year.
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.
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?
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…
This afternoon at 2:20 PM EDT (20:20 CET), the Bayerische Staatsoper presents a live webcast of a sold-out performance of Giacomo Puccini’s Manon Lescaut starring Kristine Opolais and Jonas Kaufmann.
Join La Cieca and the parterriani this afternoon for a chat during the premiere of Manon Lescaut from the Bayerische Staatsoper.
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.
“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.
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.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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