Hunkentenor Giuseppe Filianoti performs a little “risqué business” in this trailer for a new production of L’elisir d’amore that opened last night at the Bayerische Staatsoper.
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Or is La Cieca mistaken: could this rather be Alfred Deller‘s “after hours” show?
La Cieca’s saturation coverage of the Met’s new Contes d’Hoffmann begins officially on Monday, when one of her most reliable and most devious spies promises a report from the dress rehearsal. You, the cher public, will be expected to sound off loud and clear during the opening night chat on Thursday at 8:00 pm.
Remember Dragana Jugovic del Monaco? Oh, come on, who could ever
La Cieca has a new favorite thing. It’s called Tubedubber, and what it does is it allows you to mix the video from one YouTube clip with the audio (soundtrack) from another.
A snippet of the Berlin Lohengrin directed by Stefan Herheim, who is rapidly becoming one of La Cieca’s favorite Regisseurs!
Poet of the podium Carlos Kleiber leads the final minutes of Tristan und Isolde from the mystic abyss of Bayreuth, circa 1975.
The great Swedish soprano died earlier today. She was 82. [AP]
You know how you have this old friend you’ve known for 20 years now, who’s always been a little nuts, or gets a little high, or just is, you know, eccentric, but in a way that is so clueless that it’s kind of endearing? Someone you can count on for a laugh, because you always…
What happens, La Cieca imagines, when Project Runway meets Carl Maria von Weber.
Hui He will sing the title role of Verdi’s Aida at the Metropolitan Opera on March 26, 31, and April 3 matinee, replacing Hasmik Papian, who has withdrawn.
“For the premiere in 1918, the Metropolitan Opera marshaled … Florence Easton, whose repertory ranged from Carmen to Brünnhilde, as Loretta, the doting Gianni Schicchi’s ingénue daughter who winds him around her little finger with the Top 10 aria ‘O mio babbino caro’.” [NYT]
An elegantly beturbaned Miss Leontyne Price offers an object lesson in The Art of the Diva Interview.
For no particular reason, La Cieca has been thinking of the duet “E un anatema” from La Gioconda, and for a very particular reason, she’s been thinking of Aprile Millo. Anyway, to get the discussion started for the weekend, cher public, how’d you like to share your favorite performances of this duet, YouTube style, down…
Squirrel is using his Parterre Pulpit to make a pitch. If the Met wants to produce a work that has never been seen in New York, they could do worse than a new production of Carl Nielsen‘s excellent comic opera Maskarade. It’s easy listening for sure, melodically akin to La boheme or Lehar, but marked…
The premiere of Hugo Weisgall’s 1993 Esther at New York City Opera occupied my mind for several days – though maybe not for the best reasons. As I wrote earlier, it is a work that emanates, belatedly, from what might be called The Twelve-Tone Industrial Complex, that uptown conservatory lobby of the 1950s and 60s, which was…
parterre fave Peter Konwitschny has returned to his métier, directing a new production of Salome — with a happy ending! Following the jump are excerpts from an interview with the director in Volksrant, translated by Our Own Freniac.
What? Springtime? Adam Lambert? An Ungaro Spring frock (pictured)? Or that old standby, “gayer than eight guys fucking nine guys?” (Not pictured, alas) Yes, all those things are gay, and some are even gay gay gay gay gay. But nothing is or ever was as gay as this:
The legendary dramatic soprano was born November 7, 1936.
Among the “auditions” that have come flooding in from the cher public are reviews of three very different productions of Don Giovanni. Your doyenne has taken the liberty of combining the three critiques into a single posting, but she urges you to remember, remember well the names of the authors of this troika of treatises.
This production of Der Rosenkavalier (directed by Stefan Herheim for Staatstheater Stuttgart) looks fascinating:
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