Posted in Personals

Shine…Again?

Thank you to everyone who took an interest in my NYC cabaret debut!

I’m pleased to announce that thanks to this show, I have booked another gig- this time at Don’t Tell Mama. I’ll be singing in the April 4th edition of Seth’s Showcase, emceed by Seth Bisen-Hersh, alongside 5 other performers. We’ll each be doing a set of two songs, and all of the sets will either share a theme or tell a story of our choosing.

I don’t want to give too much away, but here are some clues as to my rep for this show:

  1. Both songs will surround a theme.
  2. Both songs are from modern musicals.
  3. One song is an uptempo and the other is a ballad.

My kingdom for a Tony Award…

Get tickets!

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Posted in Theatre

Videos to Get You Pumped for NEW WORKS on Broadway This Spring

Okay, okay guys, calm down.

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Yes, I know the news came out today that Sara Bareilles will be succeeding Jessie Mueller as Jenna in the former’s own musical, Waitress. From what I’m seeing, half of the world is super excited and the other half is concerned. With some overlap between the two. The concerned side feels as such because they worry how this show’s almost-certain reappearance on public radar could affect the multitude of brand new musicals that will already be struggling to secure an audience just before Tony Awards time.

Well to these friends I say, “Never fear!” Puccini’s Chronicles is here to help. Today I’m going to share some awesome previews that are sure to entice folks into taking a chance on a new show. You know, along with their already-purchased revival tickets or 900th attempt at the Hamilton lottery. (Click on the name of the musical to watch the video!)

AMELIEWhat you’re seeing: A well-arranged selection of visual highlights from the piece’s pre-Broadway run in Los Angeles, set to a lovely duet from its stars, Philippa Soo and Adam Chanler-Berat.

ANASTASIAWhat you’re seeing: Christy Altomare, as Anya, singing the beloved Oscar-nominated song “Journey to the Past” in Columbus Circle.

BANDSTANDWhat you’re seeing: A very cinematic trailer, complete with a bass-baritone narrator and appearances from the original Papermill Playhouse stars, Laura Osnes and Corey Cott. Also, keep an ear open for a Hamilton name-drop.

WAR PAINTWhat you’re seeing: The two leading divas, Patti LuPone and Christine Ebersole, doing what they do best at the Guggenheim Museum.

Posted in Personals

Daily Prompt: Shine!!

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Feinstein’s/54 Below, Broadway’s Supper Club, presents Amanda DeLalla in “Alone in the Woods,” marking a 54 Below debut.

You’ve seen Sondheim’s masterpiece performed by a cast of 18 and a cast of 10…now see it attempted by a cast of one. Featuring an abridged version of the book and score, arranged by DeLalla herself, the fairytales won’t be the only stories getting told.

12% of the proceeds from this event will benefit an autism-based charity.

“As an artist with Asperger’s syndrome, I know that navigating this world- much less being creative in it- is a trip to the woods all on its own!” Along with special guests, see Into the Woods in a new light and contribute to the cause of autism acceptance. The evening will be musically directed by Cristina Dinella.

Amanda DeLalla in “Alone in the Woods” plays Feinstein’s/54 Below (254 West 54th Street) on February 7th. There is a $25-$35 cover charge and $25 food and beverage minimum. Tickets and information are available here. Tickets on the day of performance after 4pm are only available by calling 646-476-3551.

“Shine” on, all you crazy diamonds!

Posted in Music

Critically Thinking- Is All Publicity Good Publicity? (A Nat’l Opera Week Essay)

The world of opera (and music in general…) seems to be bizarrely polarized when it comes to certain performers and productions; on one side of the coin there are those who will swear loyalty to a fault. On the other, there are people who absolutely despise whatever’s in question and will mock you if you disagree. And somewhere in the middle are those who at least try to be objective when analyzing the performing arts discipline. Ultimately, as with any business, all three of these groups are reactors to however the art decides to present itself. Backlash will be inevitable, but can that actually help the cause of the creators?

Take, for example, a controversial star of modern opera: Anna Netrebko. As a new dabbler in the art form I heard Netrebko and was blown away by her voice and beauty. At the time, it was clear to me why this Russian soprano has enjoyed so much success. Fast forward a few years, and I’ve realized that she is far from everyone’s favorite modern diva. People with much more knowledge than I scrutinize technical aspects of her voice, particularly when she sings bel canto, and there are even some who call her personal reputation into question. I recall a particularly biting YouTube comment in which the writer implied that Netrebko essentially slept her way to the top. But ultimately, does it really matter? In fact, have the opera community’s split views actually generated more interest in Anna?

Take, for example, the infamous Metropolitan Opera minimalist production of Verdi’s La traviata in which there was no set, Violetta wore a lone red mini dress, and the rest of the company was dressed like waiters. Netrebko was one of the sopranos to fill Violetta’s shoes, and while a handful of people think positively about this production, others feel it was a colossal failure. Whether or not it did fail is immaterial. After all, are we not still talking about it years after the fact? Is it not still remembered because of the stir it caused?

Also, I believe quite a bit of it has to do with how Anna carries herself in public appearances. Just Google some pictures; she’s always beautifully dressed, her hair and makeup always done. I have yet to find one of those beloved tabloid “celebrities without makeup!!!” shots. They say beauty is only skin deep, but in a profession where your look is just as important as your talent, Netrebko markets herself very well.

That is the great mystery of public relations in the entertainment industry, I suppose. Even if you can’t walk the walk, you can find success if you make enough people think you talk the talk. Personally, despite everything I’ve read, I still enjoy Anna Netrebko’s work. I can’t speak for everybody else, but I will say this much- they can turn on you in a dime. One slip (be it artistic or political) may cause years of branding work to go down the drain. Netrebko, I believe, navigates these turbulent waters successfully enough for her to continue getting high-profile work and maintaining over 200,000 Facebook Likes. No small feat, since (as Verdi’s Duke of Mantua might say) “Le persone sono mobile.”