Cher Public

Doorbells and sleigh bells and schnitzel with noodles

An opera set in a luxurious country house, treating on the topic of class: hardly the sort of thing one would expect Brits to fancy!

The tendency to rank—to create subjective lists of best or greatest, or to organize things in ascending or descending order—is a human compulsion. Inevitably, these rankings inspire objection, criticism, sputtering outrage. “How can you put X above Y?” “How can you leave Z off altogether?” “This is so stupid. There is no ‘best’!”  Read more »

Number one with an axe

Here you are, cher public, your ten most popular parterre box postings (by numbers of pageviews) for the week of September 27-October 3, 2015.   Read more »

Towards zero

Our Own JJ (not pictured) counts down his 10 favorite New York opera performances of 2013 in the New York Observer. Not that you need encouragement, cher public, but don’t be afraid of offering your own such lists in the comments section.

Steam heat?

Tenor Vittorio Grigolo, easy on the eyes despite the fright wig, is one of the “Hottest Opera Stars Of 2013.”

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You, Midgette

Adroit, awesome, autononomous Anne Midgette nominates her Top 10 Classical and Opera Releases of 2010 over at Soundcheck, and, La Cieca thinks to herself, why should Anne have all the fun? What are your favorite opera CDs and DVDs of the year, cher public? (Here are a few reviews to jog your memory.)

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Congratulations to Rysanekfreak (pictured), contributor of the best top ten list in La Cieca’s Oughty But Nice competition. The ‘Freak’s somewhat meta compilation was entitled The Top Ten Participants I Have Most Enjoyed Reading on Parterre Box During the Last Decade. Rysanekfreak will receive a $100 gift card from 

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Reminder: Oughty but nice

La Cieca reminds the cher public: you still have one week to come up with a top ten list about the decade from the beginning of 2000 to the end of 2009, with the winner taking home a $100 Amazon gift card.

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Ten Rules for Stage Directors

1. DON’T STAGE THE OVERTURE. Surprise: Verdi and Rossini and Wagner Mozart actually worked in the theater most of their lives, so give them credit for knowing that the overture is there to get the audience in the mood, to ease their transition from “outside” to “inside.”

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