parterre box

46 comments

• 1
  WindyCityOperaman says:

  January 28, 2009 at 9:32 AM

  Lyric Opera of Chicago 2009-2010 Season Announced:

  TOSCA – Voigt/Urmana, Galouzine/Berti, Morris/Gallo, cond: Davis/Lord
  *
  FAUST – Maria Marinez,Beczala/Kaiser, Pape/Ketelsen, Meachem, cond: Davis
  *
  ERNANI (New Prod) – Radvanovsky, Licitra, Daniel, Prestia, cond: Palumbo
  *
  KATYA KABANOVA – Matilla, Forst, Jovanovich, Collins, Shore; cond: Stenz
  *
  MERRY WIDOW (New Prod) – Futral, Churchman, Honeywell, Costello, Travis cond: Villaume
  *
  L’ELISIR – Cabell/Phillips, Filanoti/Lopardo, Cobelli, Vivani, cond: Campanella
  *
  DAMNATION OF FAUST (New Prod-Souglides/Goebbel) – Graham, Groves, Relyea, cond: Davis
  *
  NOZZE DI FIGARO – deNiese, diDonato, Schwanewilms, Kwiecien, Silvestrelli, Jameson, cond: Edward Gardner
  *
  According to the press they’re proud that they stayed in the black

  http://www.chicagotribune.com/entertainment/music/chi-0128-lyric-seasonjan28,0,5996264.story

  Note, no contemporary/American operas this season.
• 2
  Harold says:

  January 28, 2009 at 10:36 AM

  Very sad.
• 3
  leontyneschiava says:

  January 28, 2009 at 10:52 AM

  This makes me sick…Aprile was really looking forward to this!
• 4
  Loretta di Frankly says:

  January 28, 2009 at 11:00 AM

  Very bad news. OONY was on the brink of closing down just a year or so ago. Let’s hope this doesn’t finish them off.
• 5
  Will says:

  January 28, 2009 at 11:13 AM

  I think it’s going to be brutal for the performing arts.

  Berkshire Opera, that mixed the familiar with American opera and even premieres of new work, has laid everyone off and canceled all future production plans. Berkshire may be “the provinces” to some, but these companies are of great value both as training grounds for young singers, conductors, directors and designers that feed companies up the line, and because they frequently do important work larger companies won’t touch.

  When I was first hooked on opera via the MET broadcasts, Mrs. Belmont was still alive and always lauded as the woman who organized the effort to save the MET during The Great Depression (The First Depression, now?). Let’s hope that if other would-be company savers emerge there will be people left with funds to go to pull off the rescue.
• 6
  doug says:

  January 28, 2009 at 11:20 AM

  the second half of the lyric opera story, in great contrast to the OONY story, is that bill mason announced the company is in very solid shape financially. it has always been a VERY tightly run ship, a conservative ship, and it’s paying off right now. granted, it’s very unadventurous repertory, and the casting gets less and less starry, but the operas go on.
• 7
  balabanov11 says:

  January 28, 2009 at 11:25 AM

  3) yeah, like Aprile was actually going to end up singing….
• 8
  tinney says:

  January 28, 2009 at 11:27 AM

  very disappointed that I will not get to see Aprile do this role. I hope things turn around soon with this blasted economy.
• 9
  leontyneschiava says:

  January 28, 2009 at 11:31 AM

  #7…well the thought of it was enough to keep me excited….whether it happened or not. It is not often that there is an event in this town anymore….I mean a real one and not a PR happening.
• 10
  isepo says:

  January 28, 2009 at 11:33 AM

  Queler (among others) took a huge hit in the Madoff scandal, and I am sure she poured a lot of her own money into OONY to keep it afloat. Very sad…
• 11
  chaka says:

  January 28, 2009 at 11:51 AM

  I heard that MEDEA is supposed to be on as scheduled but RIENZI and the Furlanetto recital cancelled.

  Which rumor is true?
• 12
  operboy says:

  January 28, 2009 at 12:38 PM

  If true, it is a sad end to a very important NYC institution.
• 13
  ashtonjoliet says:

  January 28, 2009 at 1:27 PM

  Does Lopardo sing any place else but Chicago? They are very loyal to him. How does his voice sound these days. He seems to have dropped off the radar a bit!
• 14
  High C's @ 4:20 says:

  January 28, 2009 at 1:33 PM

  High C’s just reported that if this is true and OONY is canceling their season, he is canceling his NYC trip in April that was to include lunch with La Cieca and a train trip to Philly to hear the Costellos.
  High C’s is sad.
• 15
  High C's @ 4:20 says:

  January 28, 2009 at 1:38 PM

  That Chicago line up does seem very pedestrian… damn.

  I heard Frank Lopardo in Butterfly, it wasnt that impressive…he looked silly in the blondish wig… My sister tells me a friend was there one night when he got a smattering of boos at curtain call and she didnt think it was for his cad-like portrayal of BFP…
• 16
  StignaniSpawn says:

  January 28, 2009 at 1:49 PM

  Very sad. Poor Aprile cannot get a break these days. I was looking forward to her performance!
• 17
  Lydia Language says:

  January 28, 2009 at 2:29 PM

  Queler has given me/us so many wonderful wonderful occasions, her loss would be a tragic one. And I was looking forward to making the reacquaintance of Medea, a wonderful and important score no one seems to perform any more. (Well – who can?)

  Lopardo used to sing a superb Rodolfo et al. in New York, but (they say) he was the tattletale who complained to the unions about Battle, on which grounds Volpe (who was looking for an excuse) fired her, and Gelb and some other Battle friends never forgave him for it.
• 18
  Starry Vere says:

  January 28, 2009 at 2:33 PM

  Sad indeed, but, being a one-woman show, OONY is a special case. If Eve Queler had been open to any idea of a transition of power, OONY might have a future. It was suggested (in a timid whisper) from within, but she has been determined that as she goes, so goes the company.
• 19
  almavivante says:

  January 28, 2009 at 3:07 PM

  Now, I don’t dislike Eve the way some people do, but if OONY is to survive in light of all this… well… to paraphrase what John Steed used to say to Emma Peel on The Avengers:
  “Mr. Crutchfield, you’re needed!”
• 20
  Dominatrix says:

  January 28, 2009 at 3:09 PM

  Lopardo is a competent tenor who has been loyal to the Lyric, so they are loyal to him. But he had nothing to do with the firing of Kathleen Battle. Joseh Volpe devoted an entire chapter in his book, the Toughest Show on Earth, as to why he fired her, summarized as …Kathleen Battle’s unprofessional actions during rehearsals for the revival of The Daughter of the Regiment were profoundly detrimental to the artistic collaboration among all cast members…. The handwriting was on the wall for Battle when Volpe became General Manager. Levine had coddled & protected her, but even he couldn’t save her when she was mean to one of Volpe’s long time friends in the Regiment cast. She never saw it coming, which means she wasn’t that smart to begin with.
• 21
  whatever says:

  January 28, 2009 at 5:08 PM

  i agree lyric’s new season is a yawner … thank god the windy city has chicago opera theater, or there’d never be a reason to visit!
• 22
  jatm2063 says:

  January 28, 2009 at 7:08 PM

  all this hype over Medea. It’s a yawn. And no, it isn’t that damn hard unless you sing it like Wagner, which would completely have APALLED Cherubini. If he had heard Callas’s version, he would have been horrified. NOTHING classical about it. Sung like romantic music from start to finish, which it ISN”T.
• 23
  Nerva Nelli says:

  January 28, 2009 at 7:46 PM

  Well, Lopardo was not a “tattle tale” but he was called as a witness in a professional hearing about Battle, no? He was certainly targeted by Gelb.

  He would have sung and acted a better Pinkerton than Roberto Aronica, no?
• 24
  operaddict says:

  January 28, 2009 at 8:16 PM

  The bad news is that Aprile Millo will not get the opportunity to sing Medea. Equally bad news is that her cover, Barbara Quintiliani, will not get the opportunity to sing Medea. Either way with either diva, it would have been quite a show.
• 25
  Ann Arbor says:

  January 28, 2009 at 8:16 PM

  This was the first year in 30 years that I didn’t purchase Lyric Opera tickets. The offerings have gotten steadily less appealing, with more reliance on their home grown artists for a greater share of the roles. Mason is no Ardis Krainik by a long shot. She made sure during the 90s that there was a 20th century work AND an American work each season. She’s also the one who initiated the contract with Bill Bolcom for McTeague, A Room with a View, and A Wedding. There was a fourth opera scheduled, which I’m guessing Mason has scuttled for another revival of Butterfly or Barber of Seville, both of which are done steadily, in the same old productions. Ardis understood that “playing it safe” also involved bringing new artists, new operas, and sometimes edgy productions into the mix. “Playing it safe” meant giving each segment of the local audience something to come for AND keeping Chicago viable within the artistic community–giving Chicagoans something to be proud of. Mason has just sapped all of the interest out of Ardis’s company, turning it into some accountant’s success story but not a company that Krainik would have found very interesting. The Katya and Damnation de Faust look like possibilities for next year but it’s hard picking overall.
• 26
  In the know says:

  January 28, 2009 at 11:36 PM

  They are postponing, Cieca darling, the I Rienzi till next year, and the Medea will open in 2010 the 40th anniversary of the company. They are restructering office space, which is sucking money out with a Hoover, and looking to downsize the office and library.

  Postponing until next year, 2010. Fall of 2010 for the Medea.
  An announcement to the full season for next year and the 40th anniversary will lightly fall with the end of the week or Monday.
• 27
  Hans Lick says:

  January 29, 2009 at 1:32 AM

  Who wants Rienzi anyway? What a CRASHING bore, to Wagnerians and non-Wagnerians alike. (And since when is it “I Rienzi,” In the know? There’s only one of him, old Cola on the rocks with a twist.)
• 28
  Wotan says:

  January 29, 2009 at 1:46 AM

  What about Caramoor? Are they still on for this summer season?
• 29
  In the know says:

  January 29, 2009 at 2:18 AM

  sorry Lick, you are absolutely right….typo. Rienzi.
• 30
  paddypig says:

  January 29, 2009 at 12:31 PM

  read Millo’s blog for her views on opera in general right now, she really slams regie productions and the current marketing of opera. I know she can be a bit nuts but I have to say i agree wholeheartedly with her views on the state of opera today. My favorite line is “who ever paid to hear a director sing?” worth reading, also talks about Medea and Adriana. comments on singers singing Puccini like Verdi like Wagner like Bellini are right on.
• 31
  La Cieca says:

  January 29, 2009 at 12:36 PM

  “I Rienzi” is brought to you by the same people who produced “I Domeneo” and of course that rare opera based on the autobiography of a football coach, “I, Lombardi”
• 32
  armerjacquino says:

  January 29, 2009 at 12:55 PM

  Whoever paid to hear a director sing?

  Well, certainly not me. Then again I’ve never paid to see a fishmonger play tennis, either.

  They’re not there to sing, it’s not their job. And if Millo’s argument is that directors don’t sell tickets, that’s not true either.
• 33
  Della Traviata says:

  January 29, 2009 at 1:17 PM

  I guess if I wanted to hear washed up divas kvetching about the prospect of singing Tosca not dolled up in an Empress Josephine knockoff, I’d dig up a copy of the Rasponi book which is basically about a thousand pages of that.
• 34
  Will says:

  January 29, 2009 at 1:41 PM

  Dare I mention that when Ms Millo sang Adriana for OONY, the reviews from critics and comments from opera lovers such as us praised Ira Siff to the skies NOT for his singing (Mme.. V G-B was between engagements that evening) but for his DIRECTING!
• 35
  paddypig says:

  January 29, 2009 at 2:44 PM

  did any of you who are bitching Millo’s blog actually read it or just trusting my quick summary and adding your own agenda. READ IT carefully. She is talking about all these regie productions, Ira Siff hardly did a regie production of Adriana, he simply helped create stage movement in a concert version of an opera that is normally not performed in concert versions to clarify the actions and relationships- let’s face it one goes to Adriana for a performance, not to hear an obscure score that is not performed in New YOrk. It was OONY’s star vehicle for Millo who has been loyal to them.
• 36
  Will says:

  January 29, 2009 at 2:46 PM

  By the way, I want Rienzi. It is fascinating to hear unfamiliar work buy a great composer and there is wonderful stuff in the opera. The huge ensembles in act 3 are very impressive, for example. I know she probably won’t do more than two thirds of the full score, but it will be good to hear it sung anyway.

  And this should clear up the whole OONY situation:

  The Opera Orchestra Of New York Announces
  Two Final Operas of 2008-2009 Season Cancelled

  Wagner’s Rienzi To Be Performed in 2009-2010 Season
  Cherubini’s Medea To Open 2010-2011 Season

  New York, NY – Due to the economic crisis, The Opera Orchestra Of New York has cancelled the balance of its 38th season, including the concert with Ferruccio Furlanetto which was scheduled for February 27, 2009. However it has rescheduled its final two operas: Wagner’s Rienzi will be performed during the 2009-2010 season and Cherubini’s Medea will open The Opera Orchestra’s 40th anniversary season in 2010-2011.

  The 2009-2010 season will open with a Vidda Award Recital, date and artist to be announced; Aprile Millo will perform a benefit recital to commemorate the 25th anniversary of her debut with Opera Orchestra; the season continues with Rienzi and closes with Meyerbeer’s L’Africaine. The Opera Orchestra Of New York plans to open the 2010-2011 season with Medea.

  Founder and Music Director of The Opera Orchestra Eve Queler says, “To say that I regret this situation is to put it very mildly. However, I am encouraged by the dedication of our Board of Directors, staff and artists to help us get through this difficult time. I will continue working with our singers and am planning number of fundraising events as well as preparations for next season’s concerts”

  Chairman of the Board Norman Raben continues, “We regret the need for this decision, but feel it is the most responsible action to take in the current economic climate. The Board of Directors is committed to Eve Queler and Opera Orchestra as they have been for the past 38 years. We are embarking on a series of cost reductions and innovative fundraising initiatives to ensure a successful future.”

  As is the case with many performing arts groups, Opera Orchestra has been hit very hard by the current financial crisis. Funding has dramatically diminished in all areas of public support, and the decision has been made to cancel the balance of the season. The Opera Orchestra Of New York has already scheduled events to be performed during the upcoming two seasons.

  Ticketbuyers who purchased single tickets by phone through CarnegieCharge or through Carnegie Hall’s web site will have tickets automatically refunded. Tickets purchased in person from the Carnegie Hall Box Office may be returned to point-of-sale for refund.

  Patrons who purchased tickets through The Opera Orchestra Of New York should call 212-799-1982.
• 37
  armerjacquino says:

  January 29, 2009 at 2:55 PM

  I’m not bitching anything, paddypig, merely disagreeing with the sentiment you expressed as your favourite.

  Last time I checked, that was allowed.
• 38
  StignaniSpawn says:

  January 29, 2009 at 3:09 PM

  As a former Bostonian, OONY’s rescheduling makes me nostalgic for Sarah Caldwell. It used to be said that if Sarah ever offered all of the Opera Company of Boston’s deferred productions, subscribers would have eventually gotten a year’s worth of nightly performances.
• 39
  Krisitn85 says:

  January 29, 2009 at 3:24 PM

  Perhaps it would be helpful if some of these wonderfully opinionated bloggers would send a tad of money to help OONY stay afloat. Every little bit helps.
• 40
  carlwho says:

  January 29, 2009 at 3:24 PM

  I agree with Millo. She is stating the over the top productions are a disservice. Urinals for Ballo is pushing it, or pissing it and I agree it is tasteless.

  As for Siff. He gives Millo nothing. She does what she wants and he takes the credit. He is a wonderful performer, but with Millo, at least for the OONY shows, he never told her anything except, yeah, that works.
• 41
  O mein Gott says:

  January 29, 2009 at 3:32 PM

  Count me in. The subject was the state of the economy and the arts. Millo discusses the need for some help from washington, then gets into the style lacking in many shows,
  and then Medea and Adriana. I thought it well written and not dishing new productions but against those that “piss” all over the world of music.

  I loev the line too, “no one pays to hear a director sing”, yes it isn’t what we pay for, not their job, but certainly not what I go to the opera to see. I loved Caballe’s Traviata. so realim is not my first order.
• 42
  paddypig says:

  January 30, 2009 at 8:25 AM

  Della Traviata, your comment about Tosca shows a lack of understanding. Tosca takes place in three specific sites in Rome on one particular day, July 1, 1800. Puccini was very specific as to both time and setting. Why is this any less sacred then say singing vissi d’arte? We would all be appalled if a certain soprano decided that vissi d’arte was not really appropriate at that moment and decided to sing the liebestod instead, so we can relate Isolde’s grief to Tosca’s. No one would find that acceptable, so why do we find Ballo opening with a much of male chorus members sitting on toilets with their pants around their ankles?
• 43
  Antoine says:

  January 30, 2009 at 1:50 PM

  it’s sad. are you sure that there is no money left in OONY?
  I had been waiting for Rienzi. Let me call my friend in the NY Wagner Society to find out more.
• 44
  Cantantelirico says:

  January 30, 2009 at 9:30 PM

  Frank Lopardo was the MET’s first choice for the new production of Madama Butterfly. Mr. Lopardo sang at the Met for seventeen seasons until Mr. Gelb decided he was no longer worthy. Lopardo is a dedicated artist whose main focus was his work. He never involved himself in politics and never played THE GAME. Frank Lopardo is an American artist and the MET paid him off and sent him packing. Can you honestly say that what you are getting at the Met these days is so amazing? Why is Lopardo the oject of so much scorn?
• 45
  Drammy says:

  January 30, 2009 at 9:46 PM

  @ Cantantelirico :

  I can’t presume to be in-the-know technically [don't have perfect pitch or know any opera trivia] but I do know Lopardo was swallowed up by the music at the Chicago Lyric [saw Madama Butterfly there recently, with Lopardo and Racette]. One simply couldn’t even hear him…
• 46
  Cantantelirico says:

  February 1, 2009 at 10:27 AM

  @Drammy

  At least you are willing to admit that you are “CLUELESS”.