confirmed it w/ the suscription department this morning. il est mort.

how stupid is that?

i wonder what the process will be, and how rigid they will be about exchanging performances (as opposed to changing dates within a performance).

if this becomes too daunting, i may just ditch my sub and buy single tix for the few items that really stand out.

this is a big disappointment.

GeraRD Finley, cara Cieca???

Surely GeraLD Finley.

LOLAM Thanks, you are so correct I do get my Peggys mixed-up.

Ray the befuddled!

In fact, they used that technique in the recent Atlanta Cold Sassy Tree, directed by John de Lancie. Of course, it goes more smoothly when you have all native speakers of the libretto’s language, but still …

I have never patronized a hooker, I have always treated them as an equal which is only right. But a hooker who delivers and works hard to please her clientele deserves respect. And Netrebko has always turned the trick for me! So give the hooker some respect, beeyotch!!

1 Dr Atomic. It was telecast this year in the Sellars production. Essentially the same physical production I saw in SFO. But I think the opera itself has been tightened but have not had time to compare the video to the audio. As it stands now, IMO. It is a truly great and gripping 1 act opera trapped in a very good – excellent 2 act piece. The aria BATTER MY HEART. THREE PERSON’D GOD is a real barn burner and a gift to future baritones in competition and recital encores.

2. The Dammnation Of Faust production was telecast twice. It is a sensational. Gorgeous and w/ spectacular effects. It gives Marguerite/Graham an exciting exit that will have the audience gasping and cheering her at the end!

Cieca “you sly puss” not fair to get this anciano corazon palpitating by posting a pix of the real divine Angela.

Re Zimmermann “. It’s not because she doesn’t know, he says, it’s a way of making them think about the words.” Reminds me of the pyublished story of Marguerita Wallmann trying to get an old Met cast ready for a new, more teatrical/dramatic Aida as opposed to the tired, tried and true and safe routine. At the first rehearsal she gave the assembled cast copies of the libretto and asked them all to just speak and act the words rather than sing them. Milanov looked at the papers. Turned them around, upside dowm, gave an exaggeratd perplexed look, dropped the papers and walked off. The plan was abandoned.

Ray, in his lurking Criswell mode

Oh. Mark. Stop. “This Opera l thing” – LOL!! That’s a good one. Oh yeah, I believe you. You’re not derivative at all – not in the least. I believe you. Really I do. And you’re so innocent and naive. Yup – I’m buying it here. Hook, line, and sinker. I truly believe you. No really – seriously, I do believe you. Really. No really, I do. I really really do.

You apparently want to think that there could only be one person in the world who doesn’t like the hooker and so, therefore, they must all post under 300 different names.

Get over yourself. There are legions in the operaworld who don’t like the hooker and her warbling.

But please point me to this Opera l thing as I’d sure like to spice that place up along with the people you mention. Perhaps we can drive you drool shovelers off!

Iain Patterson:

http://www.intermusica.co.uk/paterson

I’ve been to the MET Ring on the last two occasions, but with Brewer only doing the Saturday matinee cycle, I think I’ll give Gasteen, Morris and West a miss. There are good younger Wagner singers around. I’m just cautious that it is getting a bit late in the day for John Tomlinson, although he was still in great form for the 4 Cycles at the ROH he did in the autumn.

I also agree that gratuitous invective is no substitute for wit and adds nothing to an exchange of views.

Also Krunoslav, except for the totally necessary importation of Finnish Cardiff Singer of the World winner Tommi Hakala as Schaunard (an appropriate fach for him), there is little “friends of Friend” casting going on here. I am a little piqued by Iain Paterson who will be Gunther in “Goetterdaemmerung”. Who is he? Strephon, London Dude, Regina delle Fate can you help me out?

John Tomlinson, Christopher Maltman (yummy!), Barry Banks, Kim Begley (as helden character tenor) and Robert Lloyd are fine artists who would grace any international theater and are well-cast in the parts they have been given.

Stella is indeed a STAR – and I agree 100% about the offensive (I mean “offending”) poster to whom she refers. From the looks of the remaining comments on this blog, it’s going to be quite simple for those of us who are actually INTERESTED in MET season to get tickets. Fine by me.