|Posts on Regator:||2398|
|Posts / Week:||13.8|
|Archived Since:||February 15, 2010|
"The spring season at the Met is as changeable as March weather in New York: crisp and brilliant for a day or two, and then suddenly as dismal as Thursday night’s Faust."
Time to walk around a bit and discuss this week's off-topic and general interest subjects, cher public.
Our Own JJ (not pictured) discussed "star quality" on WQXR's Operavore program tomorrow afternoon at 12:30.
The glamorous and beloved mezzo-soprano died yesterday. She was 99.
"...the stage is crowded with grumbling members of the old guard who aren’t renewing subscriptions, disenchanted reviewers, vendors of vitriol on blogs like Parterre Box..."
All these years La Cieca has complained that nobody would write an operatic version of Valley of the Dolls, and what do you know?
The Brooklyn Academy of Music kicks off its 2013 Next Wave Festival launches with BAM/New York City Opera co-production of Anna Nicole.
Short as Roman emperor Eliogabalo’s reign was, the world sighed in relief when it was over.
On first hearing, Paul Dukas’ 1907 opera Ariane et Barbe-bleue (Ariane and Bluebeard) sounds like the love child of a three-way between Wagner, Strauss, and Debussy.
There has never been a successful vampire musical—so they say. But that’s just not true.
Thursday’s Met performance of the Verdi tearjerker featured a major find: Diana Damrau, who, in her first outing as Violetta, mesmerized with her gleaming soprano and ferocious acting.
Christoph Willibald Gluck wrote some fifty operatic works, not counting revisions and translations, and in every form extant in the two cities, Paris and Vienna, in which he made his career.
Gotham Chamber Opera stumbled so badly Friday night with Francesco Cavalli’s 1668 Eliogabalo at The Box, it was hard to know whether to feel sad or angry—or both.
It has always puzzled me—and I’m not the only one—that so few successful operas have been composed in Spanish.
A Dutch-speaking parterrian has graciously translated the interview with Piotr Beczala that's been causing such a foofaraw lately.
For the second performance of Renée Fleming's “Perspectives” performances at Carnegie Hall she chose a semi-staged version of André Previn's A Streetcar Named Desire, with the “People's Diva” herself in the iconic roll of the unstable Blanche DuBois.
"With one of my favorite opera productions returning to the Met tonight, I've been considering lately what makes Willy Decker's Traviata so fine, so satisfying, and so worth a return visit." [Musical America]
The Prince of Regie, who'll direct a new Vêpres siciliennes for the Royal Opera this fall, is 43 years old today.
So, Piotr Beczala (left) has gone and blabbed to Luister, which is some sort of Dutch glossy classical music magazine, that he's not going to work with "stupid, idiotic and far-fetched" directors like "Calixto Bieito... Hans Neuenfels and Martin Kusej," no, don't ask him, he just won't do it.
Now that the Met's 2013-2014 season has been published and almost immediately discussed to death, La Cieca thought it would be amusing to do a bit of speculation about what's to come as we approach the middle of the decade.