gelb gives up “ghosts”
Official word from the Met concerning rumored cutbacks in next season is that Ghosts of Versailles is to be replaced with a revival of Traviata, rolling over Angela Gheorghiu and Thomas Hampson. No word on what happens to Kristen Chenoweth, but Peter Gelb promises that the new productions are going ahead as scheduled. [via NYT]
Yeah, “Ghosts” was my first choice for the axe. I’m sorry, I think it’s a ridiculously trivial and boring piece.
As for Ms. Chenoweth, la cena e sempre pronta. Let’s bring back the hallowed tradition of star cameos! (Anyone remember Bea Arthur in Fille du Regiment?)
Condolences to Maestro Corigliano, who must be very disappointed by this decision.
I also received word earlier today from a friend who was to take part in the Ghost’s production that it has been shelved. It’s a shame that the Met feels it necessary to retire both the Zeffirelli Tosca and Carmen productions, two of the most beautiful productions available. Is there really any need for that? Furthermore, although I did not see the current Hoffman production, my vote would be to bring in the Robert Carsen production which is visually exquisite!
Quite frankly, as one who is not a fan of Gheorghiu’s voice nor her flighty and arrogant ‘professionalism,’ I am disheartened to think that they would revive Traviata for her. Perhaps it is so that she can storm out of it after opening night as she did in both Rome and Milan? It is bad enough that she is going to murder Bizet next season (dare I say that I would prefer Ms. Ewing to return to the part?), and now she will murder Verdi once again.
You know, for all Anti-Fleming-Establishment that seems to be so typical of this forum, I would not be averse should Gheorghiu take her place.
I wonder how many of the informants here who excoriate Fleming for being stylistically “incorrect” in her interpretations of operas from the Ottocento have actually ever studied anything substantial about that repertoire and what level of expertise on the subject do they pretense to claim?
And on another front, NYCO still hasn’t updated the pressroom page on its website:
http://pressroom.nycopera.com/pr/nycopera/news/news.aspx
Chevalier, even though she won’t be doing Ghosts, they still have to pay Gheorghiu, so they may as well chuck her in a Traviata where at least she knows the music (sort of). And if she doesn’t turn up- all the better!
If you get a chance, you have to read the Opera News profile of her. When even Opera News struggles to put a Met star in a positive light, you know there’s trouble afoot.
Well.
Chevalier: Excellent Point! I refer to: “I wonder how many of the informants here who excoriate Fleming for being stylistically “incorrect†in her interpretations of operas from the Ottocento have actually ever studied anything substantial about that repertoire and what level of expertise on the subject do they pretense to claim?”
I would guess that the answer to both parts of your question is very near to zero. Still, that doesn’t stop the trash talk – goodness, why let scholarship get in the way? Just ask the Millo fans (from another thread) how much they know about Cherubini, his opera Medea, and the vocal goods Millo will need to bring if she’s to pull it off. And then get ready to have a good chuckle.
bravo evenhanded
I can’t wait for those Zef productions to vanish. That Carmen is a piece of over-decorated, under-directed, incoherant trash – and the Tosca isn’t much better. The Traviata is as bad as the Carmen – the unnecessary grandiosity of all three productions inevitably defeats them. I just wish Gelb wasn’t wasting dollars on importing that trendy three years ago Decker production and instead investing in a decent Traviata that would last them a decade or two. I can understand spending the money to keep the Boheme and Turandot in tip-top shape, because they’re classic productions in their own overblown way and are as big a draw as the operas themselves, but the other 80′s and later productions are horrible and need to be replaced.
For Chenoweth: Perichole?
Excuse me, Evenhanded, or shall we say, yet another whitewashed thinks it knows it all fleming fan.
Where in any musical form is scooping correct? Could be mildly stretched to suggest some shakes or glissandi but not as used and overused and abused by the thing with perfume who thinks very highly of herself.
Crashing into chest voice correct? Swooping and playing with rhythms that are YEARS ahead of the style being sung?
Miss Fleming wastes her time trying to seem serious. She is driving a very expensive car, with the permit to drive a tractor.
Because you do not agree with even handed and her crystal ball, assumptions of failure for other singers of course not their precious soon to be Bev Sills host and only that Fleming
.
Miss Millo has been seen and heard only in verismo pieces.
Medea is written for the voice that she has. Middle voice with extentions to e,,f,, and g above middle c, and some high flights that are more in keeping for music written for a mezzo. Millo has splendid high c ‘s and D’s, so what would be the problem? I heard her in the March Gala and was surposed by the lightness of coloratura and the spped of the voice. The voice sounded firm and secure and reached a stunning c natural to conclude.
The chuckle is at you- even- and all the other supposed haters. I read the other thread, and must hasten to add, YOU were the best laugh. I predict an unqualified success for Millo and you say a disaster. So what?
In that thread they talk of the party tape that will be the unbelievable bad taste of fleming in yet another rep. Verismo. A lot of chest crashing is vulgar and just a hint of what she must think will pass for verismo. That will be the chuckle, even, THERE is your chuckle.