park and bark?
With the opening night of the Metropolitan Opera’s 2008-2009 season barely a month away, La Cieca is already half-drunk with the sheer glamour of it all. Not only will this first night boast a bouquet of bonbons from Renée Fleming‘s greatest rôles (and, frankly, aren’t they all?), but the musical experience will be enhanced by the tetralogy of fabulous couture gowns in which the Diva of the Future will be swathed.
As if this sensual surfeit were not more than enough to reduce even the most jaded operaphile to a quivering mass of jelly, the evening will achieve its climax with the launch of that ebony-accorded aroma of which we will surely all be redolent ere long, La Voce Renée Fleming.
The lights! The glamour! The paparazzi! The elegant procession of boldfaced names into the Metropolitan Opera through the Lincoln Center’s legendary Josie Robertson Plaza… Wait, just a moment, what was that?
Well, cher public, thank goodness it turns out that the red carpet VIPs will not in fact have to wend their way through the parking garage; in fact, the glitterari will be able to enter the Met the way Gelb intended, through the front doors. Though it does seem like trying to funnel 4,000 people in from Damrosch Park might lead to a bottleneck or two. Keep an eye on the Met website for updates on how exactly one should approach the Fleming Follies.
Oh, and for those of you who prefer to enjoy your opera snippets al fresco (and I think you know who you are), the now-traditional opening night simulcast will take place, though for this year at least it will be relocated to Fordham University’s North Meadow. Now doesn’t that sound just bucolic?
Oh, heavens! La Cieca has just been informed that, with the Plaza under still under construction on September 22, opening night — The Fleming Gala! — will be forced underground!
Literally. As it stands now, it looks like the only way into the Met on opening night will be through the Concourse. Which is, not to put too fine a point on it, another way of saying “through the parking garage.”
Glam?
And Kenneth Collins settled in Oz…
Don’t worry Bell Bird- take a look through the posts and you will see a lot of people don’t think before they type
FUNNY RUXTON… FUNNY!!!
Funny you should mention that, Browser. I once had the distinction of getting and picking him up in a long limo, at the airport. Another reliable talented singer and a gentleman to boot. Just another example of what is lacking today, at Opera Australia.
On August 21, 2008 at 3:27 pm, Browser mumbled:
And Kenneth Collins settled in Oz…
High C’s- oops – honestly wasn’t referring to anyone specific but how’s the beautiful well fitting cap!
I remember Rita Hunter so well- she was awesome and if it were not for the obvious unmentionable, I’m convinced she would have been a much bigger star than she was.
Harry, the problem I have with you is that while I agree with so much of what you write, you can never discuss anything without dragging some person into the discussion and thoroughly dissing them in a horrible personal way.
Joan Carden and John Shaw were both a couple of the greatest artists this country has produced and yes- even at the end of their long careers, they still had what it takes to justify them being onstage – still way ahead of many of the younger singers.
As far as John Shaw’s goes- he was recognised Internationally as one of the greatest Scarpia’s of all time – and yes, I have the tape of him and la Marton that you speak of…and I was present when it was recorded. In short, he was sublime. His Te Deum and the malevolent way he acted out the last moments of that scene I have never seen anyone else come close, let alone better. He was a master- his acting throughout was brilliant and at no stage was he ever like an “arthritic dog.” Offstage he was also a thoroughly nice man and never did I see him try to upstage anyone.
I don’t care that you don’t agree with me (as you won’t) because there are very few who would agree with your miserable character assassination – but
I can only wonder why you continue to destroy your own reputation by continual “serial nastiness”.
By doing so, you only put yourself in the same basket as that other superbitch who hasn’t anything nice to say about anyone or anything- the one who calls himself “Turandot”.
Clearly- you’ve “got issues” but unlike the aforementioned oncologist- I will give you credit that sometimes in between the character assassinations, you do speak sense and seem to be quite knowledgeable. What’s the story? Did you get dumped by the love of your life or something? There must be something that causes it…………?
At least Melbourne has one thing to smile about and I mean really smile about!
Philip Calcagno
(For less than $50 dollars!)
Forget about Schrott, this guy can even do your hair!
Ruxton : No I have not being dumped by the love of my life. We are still together after 20 plus years. If I was into inane character assassination as you accuse, then that would make 95 to 99% of the writers to this forum also equally guilty! I.E Just take the comments made here about Renee Fleming, whom I like immensely. I acknowledge those naughty ‘wow-wow’ or soul qualities she infuses into some of her work. Still, I find for some reason, it is the very thing that endears her voice to me. She is distintive, identifiable, individual if you like. I appreciate others may not find it so endearing.
As regards the late John Shaw, perhaps your memory does not go back far enough, even back if need be, to the late fifties and early sixties! I will ask you one vital question. Who was the person (belonging to a group) who personally helped to drive Louis Quilico amongst other Americans out of Covent Garden??!!! Tell me? It appears you are not so conversant as you make out you are, with actual fact. Joan Carden’s claim to international fame…one night in Rigoletto at Covent Garden!! She also sang the Countess in a local Marriage of Figaro as far back as 1952….if you want that sort of dirty washing’ about maturity of age! Now start adding up and doing your arithmetic.
The reason Opera Australia is in a ‘evolving generational rut’ is the fact that it had ‘too many local and I mean thoroughly local established has- beens’,who bummed a firm niche inside that Company, Using their considerable influence and decided not to retire or move when they should have…or by being pushed out. The attitude was, they felt they had a ‘public service career, as a ‘star’: hogging the limelight, for life! Same could be said of those in administration. Evolution, so vital to the lifeblood of an opera company was stopped in its tracks. The natural rate of attrition was not operating. Younger uncoming singers had two choices (1) move overseas to foster their career (2) get out of ‘the game’. Unfortunately, one became used to seeing this situation happen, then all one could do, was make dreadful predictions ‘how long this or that young singer’s voice would stand such abuse’. Too many times one would sit at the opera and bear witness , the signs of increasing deterioration of young voices ‘being sent down the sewer’. How long would they last, one would question? One year or two, perhaps? Some of us made perverse mental bets. Too often, our horrible perverse predictions came true. It personally angers me, I am in a rage at seeing genuine talent ruined.
I remember advising one young singer to ‘go west’ as the saying goes. Don’t stay and fight the impossible. Go overseas, make a name for themselves there. I predicted that years later, they would have the ‘red carpet ‘ rolled out for them back in Sydney. What happened? They were engaged for periods in various Europeon opera houses where they were able to develop and mature naturally in their ‘particular fach’. Opera Houses that tended to have a ongoing repertiore of operas that ‘fitted’ thier voice. To have the joy, of not being ‘baited’ to sing out of their range ‘to fill some casting difficulty’ for the dumb clots managing Opera Australia.. Also, not having to work and sing with the ongoing fear that they had ‘narked the powers that be’ or being labelled ‘difficult’ because they had the guts to say NO! to some offered part. Knowing that to do so, maybe might have saved the Company money ‘from hiring in’ but help fuck their voice, in the process. Today, this person is internationally respected, gainfully employed, as well as having notable recordings to their credit. They come back to Opera Australia as I predicted ‘on their own terms’ when it suits them, not on the O.A’s.
Oh Ruxton, dear me ; you I feel,also did a character assassination on Turandot. How could you?
Calling us ‘super bitches’ no less. Impressions you might have formed I assure, can be quite deceiving and way off beam, indeed.
Hi Harry- see- there ya go again – you absolutely can’t help yourself.
Re your question I suppose you are going to stick the knife into Marie Collier now. Frankly I don’t know who you are lining up next, nor do I care because its all crap anyhow. Aussie artists never did get people thrown out of CG.
As for RF – (God help me) I have to agree with you. I’ve never dissed her and can only be surprised you aren’t in with the pack on that one too.
As far as “character assassinating” Turandot- not possible! I only stated the obvious fact.
I’m surprised about your partner- you don’t run a motel and keep her in the cellar by any chance do ya?
So much for your uninspired throw-away crap lines of disparagement Ruxton. As a wry sideline issue, I have had the dubious real task of helping to carry the coffin of a well known opera singer out of a church, if you want to fixate on my personality and approach to Opera. You would never make a comedy writer whilst trying to desperately proclaim yourself ‘look I’m so nice and terribly inoffensive, so user – friendly everyone’. Yet, if you wish to challenge other’s remarks, invariably you fail to come up with a shread of fact or defence to other’s opinion. By pouting like a spanked schoolgirl poking her tongue out…..gets you nowhere, Ruxton. Have’nt you noticed your previous statements (78#) prove how little you know about the scene of Opera, especially pertaining to Australian artists, or the workings of various companies, present or past. I will just let you wallow in your dumb ignorance. I am not going any further with names, places, and dates just to appease your sense of being some incredulous ever doubting Thomasina.
More, about the present troubles at Opera Australia are publicly filtering out day by day, in the newspapers….including the coming import of a E.N.O head of music (Tony Legge), the sidelining of other conductors and directors etc, and the starring singing roles for Artistic Director’s Richard Hickox’s own wife. Well the Sydney Opera ‘eggshells’ can sail off into the sunset, down Sydney Harbour as far as I am concerned. The joint and the ones who run it are the real joke.
Take the rather recent case of O.A putting on a Gilbert & Sullivan (no doubt to fuel depleted coffers)in Melbourne. One of the main stars reports sick around 6.30 PM. Performance time then comes around. Where’s the understudy? The show is held up. Audience is arriving. Performance delayed somewhat. The Director (also a former singer) is returning to Sydney by plane, gets a call, jump the next plane back to cover the role. Makes it in time for his first entrance, fortuitiously, it is about half way though the show. What was the patrons’public announcement? “That the understudy could not be contacted and had travelled to another state -Adelaide!!! What transparent bull shit! Fact: There was no understudy! Opera Australia have been ‘sailing close to the wind on that point for years’….and got caught out, again! Imagine the Met in the same ridiculous situation: a night performance is happening within the hour….where’s some understudy….in Chicago, perhaps???!! That’s the silly example of ploys pulled by O.A? I would not be surprised if Ruxton decided now to ‘call that crap and lies’ too, and continue to defend the indefensible. He deserves the present O.A. I think it is tailor made to suit Ruxton perfectly.
Harry – Harry- take a deep breath and slow down.
I can only be amused at your summation of my desire to be “oh so nice” – etc. Having just told a poster on another thread to “shove his head up a dead bear’s bum” – hardly fits.
If you read over what I have said you will clearly see I was only having a go at you for “character assassinations” of artists based on gossip and innuendo- nothing more. Gossip and innuendo is not FACT. It is what it is- nasty and unfair to the person concerned.
A grand example of this – for years, la Divina had a public reputation for “trivial and frivolous cancellations”. Throughout the fifties the press fed on it and beat it up for all it was worth, even showing differing film footage to be deceptive. I’m pretty sure that somewhere in that would have been some vicious old queens feeding it for all it was worth. Years later a lot of the “fraud” in that was exposed.
I’m not putting your silly assertions quite at that level- but it all starts somewhere and gossip is just gossip and your claims that somehow the Aussies were responsible for casting skulduggery at CG are clearly ridiculous.
Ironically you mention the RF stuff in here- and say it offends you. Most of it is so trite it isn’t even gossip- just laughable personal bitchiness. Your stuff is worse because you deliver it at specific individuals as some form of fact.
As far as the understudy situation you mention goes with O.A. I can believe that- and wouldn’t dispute it with you because I don’t know – you are telling us. There’s a far cry between saying something like that and character assassinating an individual- and that is all I have been talking about.
As I said when we started this discourse -you do it constantly and you just can’t help yourself…pity!