Blonde item Blonde item

This year, I attended one of Natalie Dessay‘s only fully-sung Traviatas at the Met.

Past imperfect Past imperfect

One of my adolescent pastimes was trolling the classical cut-out bins in record stores searching for overlooked gems or unfamiliar singers.

Hier bleibt Elektra Hier bleibt Elektra

The Met has finally released the contents of the James Levine 40th Anniversary box sets separately for those of us who didn’t have $500 lying around.

Red dress diaries Red dress diaries

La Cieca has just received a complete report from her spy at today’s open dress rehearsal of La traviata at the Met.

Fairy-lit Fairy-lit

It was dear Oscar Wilde, wasn’t it, who devised that early mot du jour “Good writers borrow; great writers steal”…

Senior moment Senior moment

Being an opera lover in Los Angeles is a lot like being a Red Sox fan.  As hard as they try we never make it to the World Series, let alone the playoffs.

Anna squared

I’ve been a big fan of Donizetti’s Anna Bolena since I first heard it on recording and have always felt that it deserved a definitive recorded performance. Here’s a brief tour of why this hasn’t happened. There’s the Bible, also known as the live Scala relay with Callas and Simionato and musical cuts so egregious…

Absolute assoluta

Only because I am a member of the You Can Never Have Too Much Callas School of Opera Listening can I recommend EMI’s new release The Callas Effect.  The beautifully packaged production is the size of a small paperback book and consists of two CDs with 29 arias sung by Callas plus a new 70-minute…

Homage girl

It would be a shame, I think, if EMI’s stunt video of Angela Gheorghiu “in duet” with Maria Callas backfired powerfully enough to prevent serious opera fans (well, okay, let’s say “enthusiastic opera fans,” that’s more like it) from listening to the Romanian diva’s new CD Homage to Maria Callas. There’s a lot on this…

Savagery neglected

I’ll confess it. I am a bloodthirsty opera fan.  I’m not above judging the quality of a work by the size of the body count at the finale.  After sitting through Traviata or Boheme all evening I’m often disappointed when only one person dies in the last act. All the principals are dead at the…

Joy in the morning

“Gioia!” is the title of Aleksandra Kurzak‘s debut aria recital, her first international release under a new exclusive contract with Decca Music Group, and—not surprisingly—this writer’s response to the soprano’s sparkling vocalism.   In the liner notes, the Polish soprano explains that the title of this recording was her agent’s suggestion: “He said that he can…

Del primer pianto

Classical music writer and opera critic Robert Levine has written a very pleasant new book, Weep, Shudder, Die, A Guide to Loving Opera, published by HarperCollins Books.  Levine sets up the book’s premise early in his introduction: “Could singing… make one, as the composer Vincenzo Bellini said, ‘weep, shudder, die’ and at the same time…

Buyer’s market

La Cieca was cced the following letter sent by a “long-time patron of NYCO” in response to “the recently received Subscription Renewal Brochure.” She has withheld the patron’s name by request.

A Rita bird talk

When sending out CDs to for me to review, our doyenne could not know that I have a fetish for 1950s vintage import LP jackets. I remember combing through the LP bins gazing admiringly at the import disks of a generation of middle-European singers who I was too young to have heard in person, who…

Rock stars

Scanning this summer’s Mostly Mozart schedule one wondered if New York really needed another Don Giovanni right now?  And one with a non-starry cast where the best-known name was the Commendatore, Kristinn Sigmundsson? 

À l’opéra ce soir

When I was a kid growing up in Paris, there was a weekly TV broadcast of a theater play called Au Théatre Ce Soir that I loved. But that my father would rarely let me watch this show, because the plays were all were silly comedies, usually badly acted and filmed without any creativity or…

Bottom dollar

In Robert Carsen’s 2004 production of La traviata for Teatro La Fenice, the Prelude is staged.  During this haunting music, we see Violetta lounging on a huge bed while more than a dozen men pay her for her services with wads of oversized dollar bills.  By the time Act One begins, the bed is virtually covered…

The recursion of kitsch

Like the double or triple negative (where theoretically pairs of “nots” cancel each other out, but in practice you can’t be so sure) this tidbit of news La Cieca just read has her confused and uncertain. It seems that at a recital in Tulsa last night, Dame Kiri te Kanawa sang as an encore a…

New classic

Willy Decker’s Traviata has garnered praise from critics and audiences alike in the week since its Metropolitan premiere, but (as was to be expected) this praise comes over the complaints of a select few traditionalists, a handful of lonely boos amid the mostly enthusiastic applause. Their objection (as usual) is that Decker’s production betrays the…

Red shoe diary

La Cieca’s spy wriggled into last night’s Met dress rehearsal of La traviata and reports: “One has to be careful about making too many judgments or drawing too many conclusions from a rehearsal, but last night’s final dress was indeed very promising.”

Face time

As we look forward to New Year’s Eve and to the gala opening of Willy Decker’s La Traviata at the Met, it seems fitting to look back—by way of the official, live, DVD recording of the production’s sensational world premiere at the Salzburg Festival in 2005—to get some sense of what’s behind all the hype.…

A tale of two Alagnas

In 1890 Cavalleria rusticana had taken the whole world by storm and in the next decade or so, hordes of composers, willing or unwillingly, jumped on the Verismo bandwagon.  La navarraise (1894) is generally considered Jules Massenet’s homage to the genre, and for a long time the two works were often performed together.   Emma Calvé,…

The Quantification of the Diva: Part the Fourth

As we launch into the fourth and final movement of our étude, La Cieca asks the musical question, “Can a Contemporary Diva achieve Grandezza, or, for that matter, Drag Imitability?” Let’s see what the numbers tell us. 

“Ghosts” of honor

John Corigliano‘s first and second symphonies won the Grawemeyer and the Pulitzer, respectively; the premiere of his Third Symphony wasn’t even reviewed by the Times. His score for The Red Violin won an Oscar™; his score for Edge of Darkness ended up on the cutting room floor. Is there an American composer at once more…