with apologies to Nerva Nelli
New York City Opera has commissioned American composer Charles Wuorinen to write an opera based on “Brokeback Mountain,” a love story about two U.S. ranch-hands that won three Oscars when it was turned into a movie.
The opera house’s spokesman Gerard Mortier said in a statement on Sunday that Wuorinen had accepted an invitation to compose an opera entitled Haroun and the Sierra of Sissies, based on Annie Proulx’s short story. It is slated to premiere during City Opera’s 2013 spring season in a production by Jonathan Miller. Casting for the work will include Ian Bostridge as Ennis del Mar and Shirtless Nathan Gunn as Jack Twist. Sylvain Cambreling, not shirtless, will conduct.
In preparation for the first performances of the opera five years hence, New York Times scribe Anthony Tommasini has already begun a weekly series of essays in which he posits a moral equivalence between the violent lynching of homosexuals with “the patronizing disdain of the tough-guy [dodecaphonic] modernists” against the oppressed minority of 20th century composers who used tonal methods.
Later in the series Tommasini will explain why the Haroun and the Sierra of Sissies should have been written by Thomas Adès in the first place.
IAN BOSTRIDGE??? OHYVEY!!!
With Ian Bostridge??!!! Gee, cant you wait to see England’s idea of ‘butch’ in cowboy gear? The concept is hilarious. Opera casting gets more ratty by the day.
And internet posters get less and less capable of spotting an obvious gag.
Oh! t’is a pty Bennie Britten is not around today, He could have written it for ‘darling Peter’, with an aria while he is sitting around a campfire sipping tea and cucumber sandwiches: before singing that he was wandering off to ‘have a lttle modest pee’ behind the bushes. He does’nt want to scare the sheep.
Proof there from harry that it’s not as easy as la cieca makes it look.
Gag or not, the projects and ideas of today’s opera commissioners are no less cock-eyed.
I think the director will be Laurent Pelly. I hear he’s good with sheep.
this does not sound good
Amerjake…I toyed with the idea that it was a joke but then with the conductor being mentioned too I thought it maybe was for real… Glad and RELIEVED to have been… huh.. had!
In German there is this designation of GAU – groesster anzunehmender Unfall – in connection with nuclear power plants… this could be the Opera GAU??
May we finally find out if Mr. Bostridge is keen on nipple rings? And he’s gonna top Nathan?? Oh my.
I think this is a bit closer to the truth:
http://www.huffingtonpost.com/2008/06/09/brokeback-mountain-to-bec_n_105980.html
Are we all clear? The commission is real. The rest a clever embellishment by our dearest La Cieca.
Perhaps David Daniels could play the homophobic (read closeted) foreman who hires our two heroes. He could have a lovely aria in which he bemoans his nights cuddling the local livestock, when what he really wants is a real man. Has crossover potential, no?
I love how La Cieca merely denotes Mortier as the NYCO’s “spokesman”
And the giveaway was the mis-titling of “Haroun and the Sea of Stories” — not a mistake La Cieca would ever make
Of course Tom Ades should write it, or Jonathan Dove. But why Gunn and not the vastly superior Christopher Maltman?
And reset the whole thing in the Cotswolds!
Wourinen, bleagh. The audience will leave humming the sodomy.
So lets keep Nathan as the dark headed one…TTR can play the blonde and that would leave Ian Bostidge available for the non-singing role of the corpse of the ‘queer’ they find in the ditch…
Agreed! Let’s do leave Nathan in the cast. So – who else? What’s our dream cast?????
No apologies needed. ‘Brava Diva!”
High Cs–
I am not sure Bostridge is up to such a role vocally but I am quite sure he couldn’t stay still long enough to perform it.
high c’s yr too kind: Ian Bostridge doesnt have the range to play a corpse in a ditch. Plus he’d be too fidgety…
I’ve already started lobbying for Teddy Tahu Rhodes.
Talk about self hated….who are you people?
Blow me, tonalists, I got the commission and you didn’t, you dinosaurs.
Hey Chuck… HAPPY BIRTHDAY
Tom Ades writes such parochial uptight pieces. On this month at Covent Garden is “Powder her Face” where the naughty Duchess of Argyle performs fellatio on a Royal Duke in a suite at the Dorchester Hotel.
Oh Come now the Cast is EVIDENT.
Ennis Del Mar – Nathan Gunn
Jack Twist – Stephen Costello
Joe Aguirre – Duane Croft(A speaking role)
Alma- Jennifer Check
Lureen-Kate Aldrich
Lureen’s father-Carl Tanner(by that time he’ll need the work)
Lureen’s Mother-Elizabeth Futral
Jack’s mother-Renata Scotto
Jack’s Father-Sam Ramey
JDF as Jack Twist, Villizon as Ennis, Millo as Alma (Joyce Di Donato as Lureen, Joan Sutherland as Jack’s mother, (she can relate to the role) and Paul Plishka as the father. LUreen’s parents, Jean Kraft and Allan Monk
Costello, with his field creature shyness, is *all wrong* for the forthright Jack– the one after all, who goes out there and finds what he needs as best he can.
Maybe Joseph Kaiser? Toby Spence? But certainly Teddy Tadu as Ennis. (Gunn is more of a Jack type himself, though not in his orientation.)
Sir Morosus: actually it’s not a Royal Duke, it’s a hotel waiter. Had it been a Royal Duke, it would hardly have been worth the trouble of writing an opera, would it?
gosh, the Ian Bostridge hatred baffles me. Probably the same people who didn’t realize they were being put on. I don’t know why I always expect most opera fans to be smart…….they’re not.
Disliking I.B. is not “hatred”, merely a matter of (GOOD) taste. Not being taken in by that particular kind of talentless “performer” (”singer” is too big a word) is actually being very “smart” in my opinion… I said: MY OPINION!
It’s wild that a work that is just in the initial planning stages can generate such fury and irrational speculation.
While I wonder if the original short-story can be fleshed out enough to garner “operatic ” treatment–(I was slightly amazed that a tale with very little dialogue became such a popular flick); it might be a mite FAIRER to wait and see what Wuorinen and Co do eventually come up with–It’s a minority OPINION, but I very much enjoyed “HAROUN” at NYCO; and the last few concerts of Wuorinen’s music I have attended have left me pleasantly surprised at how “user-friendly” his more recent compositions have become.
Then Again–it’s so much more “fun” to bash the easy targets that constantly pop up here..like Bostridge; and the obligitory fag-bashing towards AT(very fitting, during Gay Pride Month, nu?)
I wonder if the heat-wave we’ve been having has addled one too many Queens brains…..
Off topic:
Here is the final nail in the coffin of any shred of credibility GRAMOPHONE magazine might have hoped to claim:
PUCCINI: La Bohème
Anna Netrebko / Rolando Villazón (DG)
“A starry pairing in golden form help elevate this Bohème to classic status.â€
Gramophone (Editor’s Choice Recording June 2008)
harry – I’m still laughing…hilarious!
This opera should be composed in Italian bel canto style. One of them should have a big scene (aria, cabaletta) for the part when they argue. Something containing the words/expressions “va, mi lascia indegno” “disperato” “disprezzato” “sciagurato” “aaaaaaah si” “suplicante” “aaaah no no no” “vendetta” “non avrà perdono in ciel” and finish with “ah bello, a me ritorna”.
Also the big love duet and a tragic finale with a happy ensemble cabaletta like the “Figlia impura di Bolena scene” where everyone is talking about death and singing as if they were celebrating a wedding.
How can you not love italian opera
I think every effort should be made to engage singers who are out and proud – there are a few but needs to be more.
Show the world what we’ve all known for so long – that there are many gay and lesbian opera singers.
Perhaps Mariusz can be coached to have a passable non-Polish accent?
Greg… am i to assume by the above comment that my favorite Pole is also interested in my favorite pole?
“Desidero sapevo come uscire da te?”
Out of curiosity, just how “out” is Mariusz? Other than Daniels, are there ANY male singers who are out? I’m not asking for gossip’s sake, just would like to know who I can be proud of during Pride Month.
Speaking of Pride Month, I saw Adrianne Pieczonka’s Tosca yesterday. She was fine, but Shicoff should have been shot during the first act.
High C’s
Though I don’t believe he’s ever officially acknowledged that he’s a “Friend of Dorothy” there have been numerous discussions (including on this site) about his family membership.
gjd
We should be proud of:
Mr. Daniels
Ms. Racette
Ms. Clayton
Who else?
Most of the male members of the Julius Ceasar done at the Lyric in Chicago last year?
At least I’m assuming – while it’s possible to ‘act gay’ I don’t think it’s possible to ‘act’ as gay as some of those boys were acting without having a little real-life experience.
Daniel Mobbs has “Come -Out” of his own accord, a number of years ago….
Christine Brandes and Jill Grove too… maybe the BBmountain could be done with an all female cast.
If i run into Mariusz in Santa Fe this summer, i will be sure to get the scoop.
The gorgeous lesbian Beth Clayton is bringing her Carmen to Fort Worth next summer… Yay.
Maybe the baritone could sing part of his big aria laying on his back with his head hanging into the pit. Or maybe sitting upright on the edge of the stage with his “head” hanging into the pit.
Lucky Mo. Cambreling
There’s an idea – what if Ennis and Jack Twist were to be trouser roles?
NOT so lucky Mo. Cambreling
Out and proud:
David Walker
Bejun Mehta
Jeanne-Michele Charbonnet
Russell Thomas
Kurt Ollmann
John Mark Ainsley
I’m sure we can think of many other singers who live openly GLB lives but who haven’t necessarily come forward in print as these and the above-mentioned…
Ive HEARD that cutie James Valenti goes both ways.
If anyone is interested, Wuorinen’s Haroun and the Sea of Stories is available at OperaShare (you have to sign up via Yahoo) at this link:
http://launch.groups.yahoo.com/group/OperaShare/message/24231
If you’re interested, Wuorinen’s Haroun and the Sea of Stories is available on OperaShare as 2 .mp3 files (you have to be a member of the group; if you’re not, once you join, use the 5 digit # at the end of the link to access the post/message #):
http://launch.groups.yahoo.com/group/OperaShare/message/24231
No. 52, you must not forget the great, and venerable, Hugues Cuenod.
I’d like to see this opera maintain an established 18th- and 19th-century tradition by imposing a happy ending.
Dirk VA, do you mean the tradition exemplified by MAOMETTO SECONDO, NORMA, LUCREZIA BORGIA, ANNA BOLENA, MARIA STUARDA, ROBERTO DEVEREUX, LUISA MILLER, ERNANI, RIGOLETTO, TRAVIATA, TROVATORE, LES VEPRES SICILIENNES, LA FORZA DEL DESTINO, LOHENGRIN, TRISTAN, LES TROYENS, LA GIOCONDA, ROMEO ET JULIETTE, AIDA, CARMEN, QUEEN OF SPADES, CAV, PAG and ANDREA CHENIER?
If you mean the tradition exemplified by the original version of HAMLET, we’re on safe ground. Big boy/boy love duet, maybe, in the back seat of a bus bound for West Hollywood to visit an out great uncle of Ennis, played in a video flashback by- thanks for the reminder– Hughes Cuenod.
Troyanos was pretty out, as is I believe Zajick and Millo, Phillip Creech of course, Dale Duesing used to leave the MET in full leather. Cianella, I believe Elias was pretty open in her day, Melchior could be quite flamboyant when he wanted to and William Warfield wasn’t known as the queen of fire island for nothing. and of course there is the famous retired diva who lives on the upper west side with her “adopted daughter”
which Diva is that PaddyPig???
Melchior?
Paddypig-
I’ve met the adopted daughter. Even at 83, La Amara could do a lot better. Just putting it out there.
paddypig, whatever Ms. Millo’s orientation, I do not believe it is quite accurate to say she is “pretty out.”
Lucine is from the old school where “lesbian” carried a very large amount of baggage in the manner of “The Killing of Sister George,” and it may well be that she is not comfortable identifying with that lifestyle, even if she appreciates that most of her romantic partners are women. And if she is not clear on how she identifies, that would be only one of her little eccentricities.
Perhaps Mr. Duesing wore full leather for the same reason (accordig to Paul Lynde) that motorcycle gangs wear full leather: “Because chiffon wrinkles!”
isn’t Amara Armenian, different part of the middle east all together (bad joke), Just used to see Madame Millo hanging out with what seemed to be her gal pal in her leather pants some twenty years ago. She didn’t seem to be afraid of being seen in the village in rather openly.
Nelli at 56, I’m not at all sure I understand your point. Are you under the illusion that someone said operatic tragedies don’t exist? My reference was to the many operas that take classic stories (like those of Orpheus or Romeo & Juliet) and give them a happy ending. This was also once common in spoken drama.
Dirk: I think if you had been a little more specific by saying “18th and early 19th century.” In fact, there was a generational change around 1830 or so from generally happy endings to generally “catastrophic” finales — all this in serious works, obviously.
It seems to La Cieca she might have touched on this subject when she presented Spontini’s OLYMPIA (Olympie) on Unnatural Acts of Opera. In that case the composer revised the original tragic ending to a more cheerful one in order to conform to international taste. (Presumably, in France the public would have known the original work so well they would not have tolerated so significant a deviation from the plot.)
So having gay friends in the village means your out? wow.
just want to be clear, because I am someone who lives in the village. I wear leather pants. OMG, should I tell my husband?
What a terrible idea for an opera!
No self-respecting homosexual would want to be part of the undertaking.
noOMG, I was trying to be a little discreet in my description. let’s leave it at that.
excuse typos
The most interesting part of the article, if you read the link, is the quote of Charles Wuorinen claiming about thirty years ago something like: 12 tone music is the norm and only backward looking composers or pop music composers write tonal music.
I heard a retrospective concert almost ten years ago of Wuorinen’s works with those of another composer who was a contemporary of his. Wuorinen’s stuff was the backward looking material. He was stuck for apparently his entire composing career in the second viennese school. It all sounded the same, from beginning to end. 50 years or more of music, and nothing was more advanced, or even distinguishable, from the work of Berg, Schonberg, and Webern.
The other composer on the program went through a 12 tone phase obviously, but then grew beyond that and did the more interesting work over the course of his career. He didn’t have his nose up Schonberg’s ass his whole life.
I dunno, Jatm2063:
I recently heard some short–(and non-vocal)pieces of Wuorinen, at the TASHI reunion concert at Town Hall, in NYC..granted, they were Chamber works..and reworkings of Early English pieces(Byrd, I think?)–but listening to them , for the first time,I could quite easily imagine Wuorinen doing “Brokeback”(assuming that it should be done, which I have my doubts over…) in an easy -to-digest manner.
I don’t recall “Haroun” sounding like just a re-hash of the second Viennese school output–imho…
Concerning who’s out, now and former – although it was of course never mentioned in the press, Justino (Gus) Diaz, is completely bisexual, and as he had both male and female conquests in practically ever city he ever sang in, his sexuality is common knowledge in the opera world.
My impression, albeit third-hand or so, was that Troyanos was in fact quite private in general. I think it was assumed that she was on the team but I doubt she was out.
no Paddy, you were far from discreet and drawing conclusions about someone you do not know. But hey, have at it. wink wink. anyone can say anything they want. and you do.
I will never forget hearing Kurt Herbert Adler say:
“there are no homosexuals working for the San Francisco Opera!”
Endavanrya: You have the first half of a Sophie Tucker joke there.
“And I said to him, Kurt (I always called him Kurt), if they’re not working then why do you keep them on the payroll? Oh, I will never forget it!”
Who is the “adopted daughter”? is it true it’s another singer? inquiring minds want to know
The “adopted daughter” is Evelyn LaQuaif and she is a soprano. She performed the title role in “Isabeau” with the New Jersey Association of Verismo Opera. Ms. La Quaif has a varied background and is also an opera director.
This is an article where Lucine stresses “SHE IS NOT A LESBIAN!!!”
http://tinyurl.com/43y2cu
Gualtier: La Cieca is going to be pedantic a moment here. I do not believe Ms. LaQuaif is an “adopted daughter.” Rather, she is Amara’s legally adopted daughter, no scare quotes necessary. In a society in which certain relationships are given no legal status, it’s hardly surprising if some people feel constrained to resort to tactics that might, on the surface, seem a bit ridiculous.
I’m beginning to think that this thread really needs a “dyke ya know” tag.
What we really needs is an opera based on “Whatever Happened to Baby Jane.” (I’m quite serious about this.) Think of the musical possibilities! Think about the casting possibilities!
Gualtier, but I could not get in to read the article as I am not a subscriber….. I love La Amara more than Cheryl, I must read that interview!
trappole, why could she do better?
If anyone’s interested, OperaShare has Wuorinen’s Haroun and the Sea of Stories available for download as .mp3’s. If the page with the links doesn’t show up for you, you have to join the Yahoo group for OperaShare but there’s lots of other goodies there.
They could have asked Ned Rorem to write it
I have to say I always feel uncomfortable with discussions that “out” people’s supposed sexual orientation. This is because a lot of it is just plain ol hearsay and gossip among queens, who like to think everyone in the world is either a dyke or a poof.
My original question was simply which singers were “out and proud.” The rest is nosy.
Ruxton at 85: Do you really feel this is quite the right forum for such homophobic drivel?
And if you feel compelled to espouse such a world-view, you can surely do better that the tired libel that “queens … like to think everyone in the world is either a dyke or a poof.”
In the first place, that’s simply untrue; in the second place, performers in opera are not exactly a cross-section of the population. They are not representative of “everyone in the world” but are historically, and remain, a very special subculture.
Madame Amara is a wonderful person, entirely a delight and a source (off the record alas) of many home truths about an era in which I am very interested, perhaps alone. Evelyn is also a delight and very smart. That means a lot more to me than anything else. My understanding is that the greatest Troyanos, a once in a century talent, was closely involved with Herr Schoeffler, despite the age and cultural differences and I think he was married when they became intimates. She became rather eccentric in later years, which is not a euphemism, I did come across her in a supermarket where she had momentarily forgotten which meats she had come to purchase and was starting to meditate on the value of supermarket meat and if buying it was somehow not a part of an artist’s life before a tour of the meat section reminded her of what she wanted. I don’t care what her end game preference was, she was thrilling.