Comments on: four weedings and a funeral http://parterre.com/2008/11/12/the-sign-of-four/ where opera is king and you, the readers, are queens Sun, 27 May 2012 01:37:27 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: the flamingo opera http://parterre.com/2008/11/12/the-sign-of-four/comment-page-15/#comment-38425 the flamingo opera Thu, 11 Dec 2008 01:17:51 +0000 http://parterre.com/?p=1744#comment-38425 Finally, its announced : the ghosts of versaille, Lady Macbeth of Mtsensk, Die Frau Ohne Shatten and Benvenuto Cellini. But three operas will be added : Elektra, La Traviata and Ariadne auf Naxos Finally, its announced : the ghosts of versaille, Lady Macbeth of Mtsensk, Die Frau Ohne Shatten and Benvenuto Cellini.
But three operas will be added : Elektra, La Traviata and Ariadne auf Naxos

]]> By: whatever http://parterre.com/2008/11/12/the-sign-of-four/comment-page-15/#comment-35302 whatever Fri, 14 Nov 2008 22:37:38 +0000 http://parterre.com/?p=1744#comment-35302 i would agree that, in general, an organization of the met's sophistication should be pretty buttoned-down about sales projections ... but in an environment where the stock market spasms in 900 point daily swings, who knows what to do? i would agree that, in general, an organization of the met’s sophistication should be pretty buttoned-down about sales projections … but in an environment where the stock market spasms in 900 point daily swings, who knows what to do?

]]> By: mrmyster http://parterre.com/2008/11/12/the-sign-of-four/comment-page-15/#comment-35301 mrmyster Fri, 14 Nov 2008 22:15:26 +0000 http://parterre.com/?p=1744#comment-35301 #139 - not so sure, Mme Cieca about projecting ticket sales. Of subscriptions already ordered and paid, yes. But that's a minor % of box office, I expect. Does it not depend where the economy goes? THAT is truly unknowable; right now it's pretty scary.The Dow Jones looks like it is having a bad case of of the willies -- up and down like Bill Clinton's dick! It's a bad symptom and bodes ill for the Met - Remember in 1929 - 33 or so, it took the depression economy a few years, two or three, to take hold; Krugman says today we are already in "depression economy." Elective opera tickets would be the first to go. Think what it costs a NYC couple with kids to go to the opera: Seats for the show, $500; dinner first (Grand Tier), $200/$300; baby sitter, $100; taxis and tips, $50. Maybe drinks at an intermission or two, or a bottle of Veuve Cliquot at your Grand Tier Restr. table -- up to $125. Tot that up - could very easily reach to $800 or $1000. There are cheaper ways to the opera, as we know, but one of the best is to NOT go, and listen on your Sirius radio. Bottom line: Versailles is probably only the first to be cut. Highly likely, more to come. Not a good time for the opera profession. #139 – not so sure, Mme Cieca about projecting ticket sales. Of subscriptions already ordered and paid, yes. But that’s a minor % of box office, I expect. Does it not depend where the economy goes? THAT is truly unknowable; right now it’s pretty scary.The Dow Jones looks like it is having a bad case of of the willies — up and down like Bill Clinton’s dick! It’s a bad symptom and bodes ill for the Met – Remember in 1929 – 33 or so, it took the depression economy a few years, two or three, to take hold; Krugman says today we are already in “depression economy.” Elective opera tickets would be the first to go. Think what it costs a NYC couple with kids to go to the opera: Seats for the show, $500; dinner first (Grand Tier), $200/$300; baby sitter, $100; taxis and tips, $50. Maybe drinks at an intermission or two, or a bottle of Veuve Cliquot at your Grand Tier Restr. table — up to $125. Tot that up – could very easily reach to $800 or $1000.
There are cheaper ways to the opera, as we know, but one of the best is to NOT go, and listen on your Sirius radio. Bottom line: Versailles is probably only the first to be cut. Highly likely, more to come. Not a good time for the opera profession.

]]> By: Indiana Loiterer III http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35300 Indiana Loiterer III Fri, 14 Nov 2008 22:14:34 +0000 http://parterre.com/?p=1744#comment-35300 <i>Lulu</i> is also less expensive to put on than some other operas; while the orchestra is triple wind and the cast fairly big, there is no chorus, and the production is relatively inexpensive (no special effects). Lulu is also less expensive to put on than some other operas; while the orchestra is triple wind and the cast fairly big, there is no chorus, and the production is relatively inexpensive (no special effects).

]]> By: La Cieca http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35299 La Cieca Fri, 14 Nov 2008 21:53:55 +0000 http://parterre.com/?p=1744#comment-35299 whatever: It seems to me that by now the Met should be able to make pretty accurate projections of ticket sales for next season, at least comparing production to production. I know that the audiences for <I>Lulu</i> were pretty skimpy last time around but maybe tastes have changed some in the past decade. whatever: It seems to me that by now the Met should be able to make pretty accurate projections of ticket sales for next season, at least comparing production to production. I know that the audiences for Lulu were pretty skimpy last time around but maybe tastes have changed some in the past decade.

]]> By: whatever http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35298 whatever Fri, 14 Nov 2008 21:45:55 +0000 http://parterre.com/?p=1744#comment-35298 la cieca, that raises an interesting point -- at this point, which takes higher priority: trimming production cost, or minimizing box office risk? in the profit sector, one usually would look to the bottom line to see the net impact of a proposed change on an existing P&L. but it is always easier accuarately to project cost savings than revenues. i dunno ... probably three lulus would sell. but as you suggest there are two moving parts here: revenues and costs. la cieca, that raises an interesting point — at this point, which takes higher priority: trimming production cost, or minimizing box office risk? in the profit sector, one usually would look to the bottom line to see the net impact of a proposed change on an existing P&L. but it is always easier accuarately to project cost savings than revenues.

i dunno … probably three lulus would sell. but as you suggest there are two moving parts here: revenues and costs.

]]> By: La Cieca http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35295 La Cieca Fri, 14 Nov 2008 21:25:53 +0000 http://parterre.com/?p=1744#comment-35295 whatever: Well, the Lulu is scheduled for only 3 performances but surely would require quite a bit of rehearsal after being out of the rep for 8 years. But on the other hand the opera is one of Levine's favorites and this may be his last chance at conducting it. My intuition is that Gelb would pitch it to Levine that he could lose the Lulu but take over the Elektra which is more or less the same time. Hard to say which is tougher on the box office, 3 Lulus or 5 Cellinis. whatever: Well, the Lulu is scheduled for only 3 performances but surely would require quite a bit of rehearsal after being out of the rep for 8 years. But on the other hand the opera is one of Levine’s favorites and this may be his last chance at conducting it. My intuition is that Gelb would pitch it to Levine that he could lose the Lulu but take over the Elektra which is more or less the same time. Hard to say which is tougher on the box office, 3 Lulus or 5 Cellinis.

]]> By: whatever http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35293 whatever Fri, 14 Nov 2008 21:16:21 +0000 http://parterre.com/?p=1744#comment-35293 at the risk of being lambasted for a possibly naive observation (especially after totally stuffing up the cheno/ghost's predcition yesterday): wouldn't having AP attribution that the 8 new productions are safe make it more problematic for gelb to step back from that, er, commitment? if the other three are coming out of rep, it's lulu amd mtensk fershur, and then either frau or cellini. at the risk of being lambasted for a possibly naive observation (especially after totally stuffing up the cheno/ghost’s predcition yesterday): wouldn’t having AP attribution that the 8 new productions are safe make it more problematic for gelb to step back from that, er, commitment?

if the other three are coming out of rep, it’s lulu amd mtensk fershur, and then either frau or cellini.

]]> By: La Cieca http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35277 La Cieca Fri, 14 Nov 2008 18:46:15 +0000 http://parterre.com/?p=1744#comment-35277 Hans: Gelb's first statement to the NYT stressed that the new productions would go on as scheduled and that the cutbacks would be from within the revivals. Of course, that's the decision for now and obviously a lot of things can happen between now and 2010. There's some talk already of <I>Elektra</i> replacing <I>Frau</I> which presumably leaves two to be bumped from the following list: Le nozze di Figaro, Die Zauberflöte, Aida, Il barbiere di Siviglia, Der Rosenkavalier, Turandot, La Damnation de Faust, Il trittico, Die Frau ohne Schatten, Hansel and Gretel, Stiffelio, Simon Boccanegra, <u>Lady Macbeth of Mtsensk</u>, La Fille du Regiment, La boheme, Der Fliegende Hollander, <u>Benvenuto Cellini</u>, Lulu. I'm going to go with the two titles I underlined, with Celllini maybe rolling over into Carmen and the Lady M... well, who knows? Hans: Gelb’s first statement to the NYT stressed that the new productions would go on as scheduled and that the cutbacks would be from within the revivals. Of course, that’s the decision for now and obviously a lot of things can happen between now and 2010.

There’s some talk already of Elektra replacing Frau which presumably leaves two to be bumped from the following list:

Le nozze di Figaro, Die Zauberflöte, Aida, Il barbiere di Siviglia, Der Rosenkavalier, Turandot, La Damnation de Faust, Il trittico, Die Frau ohne Schatten, Hansel and Gretel, Stiffelio, Simon Boccanegra, Lady Macbeth of Mtsensk, La Fille du Regiment, La boheme, Der Fliegende Hollander, Benvenuto Cellini, Lulu.

I’m going to go with the two titles I underlined, with Celllini maybe rolling over into Carmen and the Lady M… well, who knows?

]]> By: Hans Lick http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35276 Hans Lick Fri, 14 Nov 2008 18:36:57 +0000 http://parterre.com/?p=1744#comment-35276 The new productions I <i>want</i> to see are Armida, The Nose, Attila, House of the Dead, and Hamlet, so I presume the four deep-sixed will all be chosen from this group. Whichever ones already exist, in the reps of other houses co-producing, are the likeliest ones to show up. The new productions I want to see are Armida, The Nose, Attila, House of the Dead, and Hamlet, so I presume the four deep-sixed will all be chosen from this group. Whichever ones already exist, in the reps of other houses co-producing, are the likeliest ones to show up.

]]> By: whatever http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35271 whatever Fri, 14 Nov 2008 17:48:26 +0000 http://parterre.com/?p=1744#comment-35271 now that (some) word is out wrt programming changes at the met next season, what of opera chic's scoop on our friends down in the charm city? i've seen some lovely little productions -- including a riveting lady mtsensk a few years back --at the lyric opera house (just a few minutes' walk from penn station baltimore, making day trips a breeze). it would be ashame to see them go under. now that (some) word is out wrt programming changes at the met next season, what of opera chic’s scoop on our friends down in the charm city?

i’ve seen some lovely little productions — including a riveting lady mtsensk a few years back –at the lyric opera house (just a few minutes’ walk from penn station baltimore, making day trips a breeze).

it would be ashame to see them go under.

]]> By: DirkVA http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35186 DirkVA Fri, 14 Nov 2008 03:44:46 +0000 http://parterre.com/?p=1744#comment-35186 "But her money is already paid, right? Good! Take the money and run!" I devoutly pray, for the future of opera, that no company makes you Development Director. “But her money is already paid, right? Good! Take the money and run!”

I devoutly pray, for the future of opera, that no company makes you Development Director.

]]> By: Doris Godunov http://parterre.com/2008/11/12/the-sign-of-four/comment-page-14/#comment-35185 Doris Godunov Fri, 14 Nov 2008 03:33:34 +0000 http://parterre.com/?p=1744#comment-35185 re 118 - I think most people agree that the music of 'Cellini' is not the problem - I personally think it's rather fabulous, but as an opera experience it is hugely problematic. There's almost too much in it - there's something exhausting and hyper about it. Colin Davis loves the piece and has done it several times in concert, and there's a good recording on the LSO's own label. I enjoyed it so much more in concert (where I've heard it twice - so something impelled me to go back) - onstage at the Met it was a drag - the director obviously didn't trust the piece, hence all the distractions, but I'm not sure it would work in a more sympathetically attuned production. And don't give it a bloody Nose - it's no masterpiece but it can be fun. Just not in a huge house - it's one of those events that should be like Hellzapoppin, cast invading the audience and all that.... Never liked Ghosts of Versailles personally - a big cop out, idioms in search of an author, pastiches of Mozart and bad Rossini most of it written in acceptable musical styles so as not to frighten the horses, or middle-of-the-road audiences. Bourgeois crapola. Good riddance. re 118 – I think most people agree that the music of ‘Cellini’ is not the problem – I personally think it’s rather fabulous, but as an opera experience it is hugely problematic. There’s almost too much in it – there’s something exhausting and hyper about it. Colin Davis loves the piece and has done it several times in concert, and there’s a good recording on the LSO’s own label. I enjoyed it so much more in concert (where I’ve heard it twice – so something impelled me to go back) – onstage at the Met it was a drag – the director obviously didn’t trust the piece, hence all the distractions, but I’m not sure it would work in a more sympathetically attuned production.

And don’t give it a bloody Nose – it’s no masterpiece but it can be fun. Just not in a huge house – it’s one of those events that should be like Hellzapoppin, cast invading the audience and all that….

Never liked Ghosts of Versailles personally – a big cop out, idioms in search of an author, pastiches of Mozart and bad Rossini most of it written in acceptable musical styles so as not to frighten the horses, or middle-of-the-road audiences. Bourgeois crapola. Good riddance.

]]> By: Vanderdecken http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35173 Vanderdecken Fri, 14 Nov 2008 02:23:26 +0000 http://parterre.com/?p=1744#comment-35173 Just a wild guess: when Gheorghiu sings Carmen, she'll probably perform the original version of the Habanera, which she also did on her recording, and then give her adoring public the more famous second one as an encore immediately after that. Less likely, but it could happen: a production of Armida in which the lead character is green and then Chenoweth comes on as an extra character and interpolates 'Popular', right after Fleming has sung D'amore al dolce impero. Just a wild guess: when Gheorghiu sings Carmen, she’ll probably perform the original version of the Habanera, which she also did on her recording, and then give her adoring public the more famous second one as an encore immediately after that.
Less likely, but it could happen: a production of Armida in which the lead character is green and then Chenoweth comes on as an extra character and interpolates ‘Popular’, right after Fleming has sung D’amore al dolce impero.

]]> By: DirkVA http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35150 DirkVA Thu, 13 Nov 2008 23:15:46 +0000 http://parterre.com/?p=1744#comment-35150 "... the HD broadcast and DVD sales that have done so much to bring in new audiences and reinvigorate “old” ones has created a situation in which stars only want to do new productions, as those are the ones most likely to be broadcast and/or sold to distributors." That point would be far more plausible if Maria Callas had not been just as insistent on new productions long before the motives you mention were ever thought of. “… the HD broadcast and DVD sales that have done so much to bring in new audiences and reinvigorate “old” ones has created a situation in which stars only want to do new productions, as those are the ones most likely to be broadcast and/or sold to distributors.”

That point would be far more plausible if Maria Callas had not been just as insistent on new productions long before the motives you mention were ever thought of.

]]> By: Caliber's Ex http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35149 Caliber's Ex Thu, 13 Nov 2008 23:11:57 +0000 http://parterre.com/?p=1744#comment-35149 netrebko owns short skirted modern porn version of Traviata so far vocally, she does not. netrebko owns short skirted modern porn version of Traviata
so far vocally, she does not.

]]> By: Constantine A. Papas http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35148 Constantine A. Papas Thu, 13 Nov 2008 23:09:22 +0000 http://parterre.com/?p=1744#comment-35148 Dear La Cieca, My comment pertained only to Willy Decker's La Traviata. In recent Met productions other sopranos exhibited dramatic singing and acting of notice. For the Salzubrg production, Netrebko owns Violetta. Dear La Cieca,

My comment pertained only to Willy Decker’s La Traviata. In recent Met productions other sopranos exhibited dramatic singing and acting of notice. For the Salzubrg production, Netrebko owns Violetta.

]]> By: Feldmarschallin http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35141 Feldmarschallin Thu, 13 Nov 2008 22:50:50 +0000 http://parterre.com/?p=1744#comment-35141 here is the Petersen website: http://www.marlis-petersen.de/pages/startseite/startseite.php here is the Petersen website:
http://www.marlis-petersen.de/pages/startseite/startseite.php

]]> By: Mere Lichter http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35134 Mere Lichter Thu, 13 Nov 2008 22:27:58 +0000 http://parterre.com/?p=1744#comment-35134 I could see Szot as the Barbiere Figaro. It would be a good fit for an opera neophyte audience he may draw, as well. But whatever he's in, I hope its an HD transmission! I am very excited about a possible Elektra. It's been too long. Canning Lady Macbeth of Mtsensk will upset me. It's been too long. I could see Szot as the Barbiere Figaro. It would be a good fit for an opera neophyte audience he may draw, as well. But whatever he’s in, I hope its an HD transmission!

I am very excited about a possible Elektra. It’s been too long.

Canning Lady Macbeth of Mtsensk will upset me. It’s been too long.

]]> By: mrmyster http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35132 mrmyster Thu, 13 Nov 2008 22:20:28 +0000 http://parterre.com/?p=1744#comment-35132 #83 - Diva. Sorry this is 'late' - my attention has been elsewhere. Of course keep Susan Baker's money (was it all that much? $5-mil?), but I think she's now shown her incompetence -- and her board seems surprisingly quiet about it all. I much want NYCO to reorganize and get back on track, and Mortier's flip is really no surprise. Kaiser as advisor is fine. But it is time for a new leader at NYCO who has more public faith than Mrs B. But her money is already paid, right? Good! Take the money and run! #83 – Diva. Sorry this is ‘late’ – my attention has been elsewhere. Of course keep Susan Baker’s money (was it all that much? $5-mil?), but I think she’s now shown her incompetence — and her board seems surprisingly quiet about it all.
I much want NYCO to reorganize and get back on track, and Mortier’s flip is really no surprise. Kaiser as advisor is fine. But it is time for a new leader at NYCO who has more public faith than Mrs B.
But her money is already paid, right? Good! Take the money and run!

]]> By: Feldmarschallin http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35130 Feldmarschallin Thu, 13 Nov 2008 22:16:25 +0000 http://parterre.com/?p=1744#comment-35130 Petersen does have a website and you can hear bits and pieces of her but alas not Lulu. I also have her in something from the Salzburg 2006 series. She was quite good in that too. I recently heard her live as Zdenka and she was great. Actually the best in the cast. Petersen does have a website and you can hear bits and pieces of her but alas not Lulu. I also have her in something from the Salzburg 2006 series. She was quite good in that too. I recently heard her live as Zdenka and she was great. Actually the best in the cast.

]]> By: kashania http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35127 kashania Thu, 13 Nov 2008 22:10:11 +0000 http://parterre.com/?p=1744#comment-35127 Scifi and Not telling: I was relying on my memory re: Dalayman as Lady M. I think I was mistaking it with her scheduled Marie. Scifi and Not telling: I was relying on my memory re: Dalayman as Lady M. I think I was mistaking it with her scheduled Marie.

]]> By: Scazza http://parterre.com/2008/11/12/the-sign-of-four/comment-page-13/#comment-35124 Scazza Thu, 13 Nov 2008 21:18:55 +0000 http://parterre.com/?p=1744#comment-35124 1. I really want to see Marlis Peterson's Lulu which as others have mentioned, is supposed to be great, born to play the role, Mozartean---and coupled with Levine would just be great. She has no recordings, no website, nothing Lulu on youtube, so live is the only way to go to get any Marlis Lulu. I also heard her on the Lyric podcast, very intelligent and charming. 2. I also really want to hear Frau. 3. I do not need another Tosca. Especially another germanic dramatic singing it (maybe Voigt killed it for me). I love Mattila but I would love to see her in more Strauss! I want a real spinto for Tosca. And I also don't need another Carmen. I think Carmen and Tosca are a good example of how much the star casting has not worked for me. I want to hear the music and voices that envelop the parts, not just approximate. This year's Giovanni I did not like (I think Elvira does need top, no more mezzos, please), but I was surprised when I loved this year's not so starry Lucia so much better than last year's. The voices actually fit the part. It's frustrating, and I think disrespects the audience. 1. I really want to see Marlis Peterson’s Lulu which as others have mentioned, is supposed to be great, born to play the role, Mozartean—and coupled with Levine would just be great. She has no recordings, no website, nothing Lulu on youtube, so live is the only way to go to get any Marlis Lulu. I also heard her on the Lyric podcast, very intelligent and charming.

2. I also really want to hear Frau.

3. I do not need another Tosca. Especially another germanic dramatic singing it (maybe Voigt killed it for me). I love Mattila but I would love to see her in more Strauss! I want a real spinto for Tosca. And I also don’t need another Carmen.
I think Carmen and Tosca are a good example of how much the star casting has not worked for me. I want to hear the music and voices that envelop the parts, not just approximate. This year’s Giovanni I did not like (I think Elvira does need top, no more mezzos, please), but I was surprised when I loved this year’s not so starry Lucia so much better than last year’s. The voices actually fit the part. It’s frustrating, and I think disrespects the audience.

]]> By: not telling http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35122 not telling Thu, 13 Nov 2008 21:07:14 +0000 http://parterre.com/?p=1744#comment-35122 Which reminds me, vis-a-vis Giordani: I see that no one is yet listed on Met Futures for Luigi in <i>Il Tabarro</i>. Giordani could jump into that, no? He's usually at his best in Puccini anyway. Which reminds me, vis-a-vis Giordani: I see that no one is yet listed on Met Futures for Luigi in Il Tabarro. Giordani could jump into that, no? He’s usually at his best in Puccini anyway.

]]> By: not telling http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35121 not telling Thu, 13 Nov 2008 21:02:05 +0000 http://parterre.com/?p=1744#comment-35121 Per the Met Futures page, Stemme and not Dalayman is set for <i>Lady Macbeth...</i>. Dalayman is not listed for anything in 2009/2010; she's back for more Maries in 2010/2011 and the <i>Siegfried</i>/<i>Gotterdammerung</i> Brunnhildes (alternating with Voigt) in 2011/2012. Just as well that <i>Ghosts</i> has become <i>Traviata</i>; Gheorghiu would probably have cancelled Marie Antoinette anyway, but she definitely won't cancel her signature role. I think the major issue with <i>Cellini</i> is why the Met would bother to resurrect that lackluster production with basically the same cast that premiered it in 2003. There's no need. I'm sure they can find something (several things) for Giordani in its place. Per the Met Futures page, Stemme and not Dalayman is set for Lady Macbeth…. Dalayman is not listed for anything in 2009/2010; she’s back for more Maries in 2010/2011 and the Siegfried/Gotterdammerung Brunnhildes (alternating with Voigt) in 2011/2012.

Just as well that Ghosts has become Traviata; Gheorghiu would probably have cancelled Marie Antoinette anyway, but she definitely won’t cancel her signature role. I think the major issue with Cellini is why the Met would bother to resurrect that lackluster production with basically the same cast that premiered it in 2003. There’s no need. I’m sure they can find something (several things) for Giordani in its place.

]]> By: Tristan_und http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35120 Tristan_und Thu, 13 Nov 2008 20:53:36 +0000 http://parterre.com/?p=1744#comment-35120 What's up w/ all the Cellini hate? Yes, it's a flawed opera (Fidelio, anyone?) and the production is way over the top, but it has a LOT of gorgeous music all the way through, not to mention the incredible Roman Carnival scene. I think it deserves to live in spite of its flaws and the fact that we haven't heard it live 100 times should be a recommendation not a minus. I have to say, I LOVE the Damnation of Faust, too and applaud the Met for staging it; I just wish this new production wasn't so BUSY. But I guess that's how opera is produced now: god forbid the audience should just sit there and listen to the music w/o something to look at. What’s up w/ all the Cellini hate? Yes, it’s a flawed opera (Fidelio, anyone?) and the production is way over the top, but it has a LOT of gorgeous music all the way through, not to mention the incredible Roman Carnival scene. I think it deserves to live in spite of its flaws and the fact that we haven’t heard it live 100 times should be a recommendation not a minus. I have to say, I LOVE the Damnation of Faust, too and applaud the Met for staging it; I just wish this new production wasn’t so BUSY. But I guess that’s how opera is produced now: god forbid the audience should just sit there and listen to the music w/o something to look at.

]]> By: T1 http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35117 T1 Thu, 13 Nov 2008 20:42:47 +0000 http://parterre.com/?p=1744#comment-35117 108---I think the Barak was Alan Held so he could easily go into "Elektra" as Orest--a role he's already sung (and very well) at The Met. I really feel for this singer---he has done such great work in so many places but just lost "The Ring" in D.C. (he was scheduled for Wotan) and was to have done the Villains in "Hoffmann" at The Met last year before it was replaced by "Carmen". From my observation, he's well respected by colleagues and audiences. After his excellent "Wozzeck" and Pizarro in "Fidelio" a few years back, I hope he gets more good assignments soon at The Met. 108—I think the Barak was Alan Held so he could easily go into “Elektra” as Orest–a role he’s already sung (and very well) at The Met. I really feel for this singer—he has done such great work in so many places but just lost “The Ring” in D.C. (he was scheduled for Wotan) and was to have done the Villains in “Hoffmann” at The Met last year before it was replaced by “Carmen”. From my observation, he’s well respected by colleagues and audiences. After his excellent “Wozzeck” and Pizarro in “Fidelio” a few years back, I hope he gets more good assignments soon at The Met.

]]> By: scifisci http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35116 scifisci Thu, 13 Nov 2008 20:40:28 +0000 http://parterre.com/?p=1744#comment-35116 HA now that would make the traviata worth seeing!! A gheorghiu traviata is always welcome....and I hope that is in place of carmen though i am sure it is not. kashania: I had no idea lady m was planned with dalayaman...is it on the met futures page? I think it would be a shame to scrap the other lady m for the nose....it's such a riveting opera and I am eager to hear stemme, though if it is cut i'm sure they could use her in aida, hollander, etc HA now that would make the traviata worth seeing!!
A gheorghiu traviata is always welcome….and I hope that is in place of carmen though i am sure it is not.
kashania: I had no idea lady m was planned with dalayaman…is it on the met futures page? I think it would be a shame to scrap the other lady m for the nose….it’s such a riveting opera and I am eager to hear stemme, though if it is cut i’m sure they could use her in aida, hollander, etc

]]> By: richard http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35112 richard Thu, 13 Nov 2008 20:09:19 +0000 http://parterre.com/?p=1744#comment-35112 Gelb's statements on the cuts in the NY Times now has an update. Met rep Lee Abrahamian has announced that Ghosts has been dropped and Gheorghiu and Hampson will be reused in Traviata. Maybe Chenoweth can sing Flora and interpolate Glitter and Be Gay into Flor's party scene. Gelb’s statements on the cuts in the NY Times now has an update. Met rep Lee Abrahamian has announced that Ghosts has been dropped and Gheorghiu and Hampson will be reused in Traviata. Maybe Chenoweth
can sing Flora and interpolate Glitter and Be Gay into Flor’s party scene.

]]> By: kashania http://parterre.com/2008/11/12/the-sign-of-four/comment-page-12/#comment-35105 kashania Thu, 13 Nov 2008 19:38:12 +0000 http://parterre.com/?p=1744#comment-35105 I think that Gergiev is just as strong a reason as Szot for keeping <i>The Nose</i> on the season. But if Gergiev could be persuaded, Szot could be cast in another opera. I know that guy is really famous now that he won a Tony but he's not that good. I saw his Escamillo in Toronto. It was good but not great (not that it matters). I think most everyone agrees that <i>Cellini</i> is out. Though I love <i>Lady M</i> and think that Dalayman would be great in it, it'll probably go if <i>The Nose</i> stays. One would think that both <i>Attila</i> and <i>Stiffelio</i> will not survive. So, I think it's pretty clear that the Muti production will stay. In general, I think that the productions that are tied heavily to leading ladies like Mattila, Voigt, Fleming, Netrebko and Gherghiou (the Met's leading prima donnas) will all be safe. Though I still don't think that Gherghiou deserves a new <i>Carmen</i>. I think that Gergiev is just as strong a reason as Szot for keeping The Nose on the season. But if Gergiev could be persuaded, Szot could be cast in another opera. I know that guy is really famous now that he won a Tony but he’s not that good. I saw his Escamillo in Toronto. It was good but not great (not that it matters).

I think most everyone agrees that Cellini is out.

Though I love Lady M and think that Dalayman would be great in it, it’ll probably go if The Nose stays.

One would think that both Attila and Stiffelio will not survive. So, I think it’s pretty clear that the Muti production will stay.

In general, I think that the productions that are tied heavily to leading ladies like Mattila, Voigt, Fleming, Netrebko and Gherghiou (the Met’s leading prima donnas) will all be safe. Though I still don’t think that Gherghiou deserves a new Carmen.

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