hidden in plain view
As everyone knows, practically nobody reads the Saturday edition of the New York Times even during the winter, much less on the first weekend of the summer when everyone who might be interested in giving money to an opera company is on their way to the Hamptons.
So it comes as no surprise that it is tomorrow’s edition of the Times that breaks the not very pleasant news that the 2008-2009 season at the New York City Opera will consist of exactly two performances. The budget for this (ahem) abbreviated stagione? Oh, about, say, $32 million.
By the way, did La Cieca mention that the NYCO orchestra will stay busy touring the boroughs with a program of Messiaen, Stravinsky, Foss, Reich and Varèse?
Coming up on the Fourth of July weekend: Anthony Tommasini examines Gérard Mortier‘s medical records.
Well, the problem with this score is that it was tailormade to L. Price’s vocal strengths, including her ability to spin a high pianissami on a dime ( they are exposed, and required in the score). You certainly didn’t get those from Vaness several years ago (who re-wrote the score at several places), and you won’t be getting them from Flanigan.
and as for the acoustic “improvements” we’re talking about more sound out of the orchestra, supposedly countered by a “state of the art” moveable acoustic bandshell (basically), or sound batts, or something. We’ll see how this all works in practice as opposed in theory, as there is no way that NYCBallet is going to change the basic acoustic of the house – it was designed to keep sound on the stage, and that’s the way they like it.
It looks like a slow opera season ahead. Thank God for opera nights at Ido Sushi!
Cocky – I agree with you about De Niese. She’s magnetic to watch in a small theatre and she looked great on television at the Classical Brits. She’s got a few roles, including Susanna, lined up at the Met where she might not cut the mustard vocally, but let’s wait and see. She’s obviously a smart cookie. The record is OKAY but perhaps not the greatest Handel recital ever recorded. She has to be seen as well as heard.
Regina, absolutely, but having seen her a few times, I now really enjoy listening to her on disc as my brain somehow fills in the rest. I love her complete recording of Semele for instance, even though I haven’t seen her do the role.
Her Susanna at the Met could be make or break, but I have a feeling she’ll do fine – her eyes are so huge, I’m sure she’ll make an impact with the audience.