Sieglinde's Diaries
Sieglinde's Diaries is a English-speaking blog specialized in the field of classical music and opera. As such, Sieglinde's Diaries is a qualified source of soclassiq, like parterre box or Classical Music Daily and many others. The oldest article indexed by soclassiq is dated 2009-01-29. Since then, a total of 55 articles have been written and published by Sieglinde's Diaries.
Sieglinde's Diaries blog activity
With 1 articles published in the last 90 days, Sieglinde's Diaries is currently a not very active news source. "Not very active" does not mean that Sieglinde's Diaries is less interesting than another more prolific source. Each blog follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is increasing compared to the previous period.
The last article in Sieglinde's Diaries, "The Empress Reawakens", is dated 2024-04-16. By 2024, this source has published 1 articles.
Sieglinde's Diaries in the last 36 months
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2024-04-16 12:38:00
The Empress Reawakens
OK, since late 2022 Sieglinde's been to a few more spectacles for sure, some in opera houses she'd never visited before. How can she restart this baby amidst this thrilling gloom? But the fire hydrant of life continues to spew experiences, her impressions rushing down the drain, emulsifying in the gray soup. Posts from decades ago, here in this blog, relive traces of faces and sound. As she reawakens, she looks around and finds that some recent feelings are also worth encoding, for the time when all she will have are these words.
2022-11-26 19:02:00
Zachary Woolfe's account of the premiere night of The Hours for the New York Times is ungenerous and petty. It opens with an unsubtle swipe at soprano Renée Fleming:“The Hours” — a new opera based on the 1998 novel and the 2002 film it inspired — features a redoubtable trio of prima donnas. And it was conceived as a vehicle for one of them, the soprano Renée Fleming, who is using it as her return to the Metropolitan Opera after five years. But on Tuesday, when the Met gave “The Hours” its staged premiere, only one of this trio of stars really shone: the mezzo-soprano Joyce DiDonato, sounding as confident and fresh, as sonorous and subtle, as she ever has in this theater. If his application of the word "using" suggests a whiff of desperation on Fleming's part, his direct comparison with Joyce DiDonato, who is currently relishing the […]
2022-11-23 15:30:00
Opera high
And you thought we would miss this? Jesus yes, we were all there last night to say "hello" and "where the f* you been" to Sieglinde's old friend Renéééééée. In a word, orgasmic. Full details later when we are able to talk beyond hyperbole. In the meantime, we leave you with this blind item, from none other than our venerable rag, that may explain a few things: Smoke shops are not the only places that have popped up selling cannabis. State regulators have also cited a tattoo parlor, an opera house and a beauty salon. Anyone know which beauty salon they're referring to? DMs will be much appreciated.
2017-03-31 15:44:00
Perhaps many years from now, I'll look back, as I did last night, and say how wonderful it was to have been at countless Fleming performances because she always made me feel utterly happy and loved, and also reminded me of love. I'd say, at one point she was all I knew, and I've never been more content.
2017-03-31 13:44:00
Ten years ago
Perhaps many years from now, I'll look back, as I did last night, and say how wonderful it was to have been at countless Fleming performances because she always made me feel utterly happy and loved, and also reminded me of love. I'd say, at one point she was all I knew, and I've never been more content.
2022-11-11 23:30:00
Callas-lite
But of course we were at this season's opening night at the Met. Sieglinde has been a stalwart of our diva Sondra Radvanovsky since we've heard her as Serving Woman in Elektra in the late 1990s, back in the day when Gabriele Schnaut, in the title role, molested our eardrums with daggers while Deborah Voigt, a hefty Chrysothemis, soothed the pain with cream. (Oh those were the days of yore ...) OK, we jest: you don't care about Serving Women, and neither do we. Anyway, Sondra quietly rose through other minor roles, through Musetta, and then to Luisa Miller, her first serious top bill which we scarcely remember because the opera itself is (don't hate us!) a snoozefest. Her Leonora in Il Trovatore in 2000 (more than two decades ago!) marked a turn towards stardom. Those performances predate these Diaries so we can't provide blow-by-blow details, but what we remember […]
2011-01-25 16:49:00
2011-01-25 15:49:00
2022-11-04 22:02:00
This Don Carlo can fit in two CDs
Verdi DON CARLO, 03.11.22; c. Rizzi; Thomas, Buratto, Matochkina, Mattei, Groissböck, Relyea.I’ve gone to many, many evenings at the Met and elsewhere in the past decade (and we’ll get to those as winter approaches), but why not reignite these Diaries with last night’s relentlessly bombastic Don Carlo, featuring Maestro Carlo Rizzi, who doesn’t think this opera should be any longer than a Puccini evening. First question—as the four-act Italian version of Don Carlo is already a dark and gloomy affair without the Fontainebleau preface, do we really need David McVicar to lead us down to another one of his recycled crypts? Meanwhile, the stars of the evening were the boys! Günther Groissböck as Filippo, dashing and unexpectedly sympathetic, and Peter Mattei as Posa, as bright and unblemished a best friend/secret lover as you’ll ever want in your Royal Court. John Relyea’s Il Grande Inquisitore is forever a thrill, his scene […]
2022-11-03 20:39:00
The Empress Awakens
How does one reboot a love affair? Time moves on, passions no longer boil so corrosively, accumulated memories temper the heart’s natural inclinations, their surplus pieces gathered and reconsidered, with compassion; the senses practiced, knees and muscle folding discretely into a dormant equilibrium. Yet there is still that low hunger, no longer urgent but deeper, as the days grow shorter and more predictable. Where is this all taking us, and what is left for us to touch? You are at once familiar and indistinguishable: do I know what you will say next, or will there be another kind of revelation that will jolt my accounted bones?