Opera is a small world, if you had your eyes open last night you saw high level people from a number of other opera companies (not the Met), as well as big agents (maybe the biggest) and managers (also biggies). The stories that are passing amongst those people re: Steel in Dallas would curl your hair! These people are honestly shocked at his ascension and amused and angered by his antics in Dallas.

Understandable since most leaders of opera companies (ja ja Gelb I know, but remember he has retained Volpe’s Artistic, Musical and Technical Directors and made a new Ast Manager position and filled it with a Met Alum) have actually worked at an Opera Co.

Past is past though, we need NYCO. NYCO seems to think they need Steel. Despite all I wish I had a million dollars to lay out to help NYCO survive. Also, sad to say, I hope they have a plan B, or C:)

Steel is a fan of Thompson’s work, he said last night he attended “many, many, many, many” NYCO performances in the dozen years (prior to Dallas) that he lived in NYC. One of our own posters, Alto, claims he saw Steel there a lot last season. So he must have been impressed with “Vanessa” and “Margaret Garner” both Rt’s creations and
“King Arthur” something imported from ENO. Also I guess Domingo is a fan too since the National Opera bought NYCOs 2001 “Flying Dutchman” which Mortier was going to throw out!

Since last season consisted of Baroque music (King Arthur), 20th C music (Vanessa) new operas (Margaret Garner) and gutsy reinterpretations of classics (Cav/Pag, Cendrillon, Tosca, Butterfly) I think my assertion that he hasn’t been to NYCO at all last season was correct.

I noticed he was in the box next to Robin Thompson, who put the last season together, and did not speak to him, making me think they are not acquainted. Since no one could tell me what, or if, he had seen any operas at NYCO last season I couldn’t ask him what he thought of recent NYCO productions. I thought asking him outright what he had seen would be too rude, especially since I am pretty sure the answer would be nothing. Too bad his defenders were so quiet this afternoon, we could have put this ugly ugly rumor that he is ignorant of the opera cannon to rest. Oppurtunity missed.

However, I did wish him luck. We as a city need NYCO. I just don’t think NYCO needs George as bad as George needs NYCO. Again tonight, much buzz about Dallas being happily rid of him.

Anyone interested in going to “A and C” tomorow should go. Lauren was in full blown Diva mode and got a standing ovation, as she should!

I’m sending Steele Ernest Newman’s Guides to the World’s Greatest Operas.

As for JJ. Nothing short of perfection today…..more please.

Are those even advantages in this day and age anymore?

Being born white, male and straight isn’t enough?

Though a blog allows for a certain amount of latitude and discretion to the discourse and vernacular, La Cieca’s position demands she act correctly with each entry. I am certain that La Cieca is aware of the severe responsibilty she owns given her position (she heads the biggest loggione around; everyone listens to her opinion), and acts in the best interests of her great city.

Mr. Steel, without question, should be given every advantage if the NYCO is to continue as a living entity.

Further, I have no doubt that our doyenne will not be rude. Though one cannot hear ‘tone’ in a blog comment, it was meant with a bit of sarcasm. Despite that, the truth will become known in time – and I wasn’t suggesting the truth is he doesn’t know anything. I hope Steel is much more expert than has been suggested.

And the danger of the kind of rudeness that you endorse is that someone like Steel is equally able to find holes in other people’s knowledge. It can be done to anyone by anyone. The kinds of information and skills needed to run an opera company are infinite in their variety and extent, and any mortal will have strengths and weaknesses.

Our doyenne, mercifully, is of a far more constructive character.

At the same time, I’m puzzled by the attitude you and some others evince that the only way to know the repertory is to have previous direct experience of working in an opera house. Some people are ravenous for knowledge and acquire it without your necessarily knowing it.

Dear La Cieca, Dallas Opera’s new Rodolfo is much deserving of your attention.