Comments on: by oony means necessary http://parterre.com/2009/01/28/by-oony-means-necessary/ where opera is king and you, the readers, are queens Mon, 13 Feb 2012 15:26:53 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Cantantelirico http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-46459 Cantantelirico Sun, 01 Feb 2009 15:27:39 +0000 http://parterre.com/?p=2658#comment-46459 @Drammy At least you are willing to admit that you are "CLUELESS". @Drammy

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

]]> By: Drammy http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-46187 Drammy Sat, 31 Jan 2009 02:46:14 +0000 http://parterre.com/?p=2658#comment-46187 @ 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... @ 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…

]]> By: Cantantelirico http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-46182 Cantantelirico Sat, 31 Jan 2009 02:30:01 +0000 http://parterre.com/?p=2658#comment-46182 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? 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?

]]> By: Antoine http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-46100 Antoine Fri, 30 Jan 2009 18:50:22 +0000 http://parterre.com/?p=2658#comment-46100 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. 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.

]]> By: paddypig http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-46046 paddypig Fri, 30 Jan 2009 13:25:55 +0000 http://parterre.com/?p=2658#comment-46046 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? 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?

]]> By: O mein Gott http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-5/#comment-45922 O mein Gott Thu, 29 Jan 2009 20:32:59 +0000 http://parterre.com/?p=2658#comment-45922 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. 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.

]]> By: carlwho http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45919 carlwho Thu, 29 Jan 2009 20:24:09 +0000 http://parterre.com/?p=2658#comment-45919 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. 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.

]]> By: Krisitn85 http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45918 Krisitn85 Thu, 29 Jan 2009 20:24:06 +0000 http://parterre.com/?p=2658#comment-45918 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. 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.

]]> By: StignaniSpawn http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45916 StignaniSpawn Thu, 29 Jan 2009 20:09:16 +0000 http://parterre.com/?p=2658#comment-45916 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. 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.

]]> By: armerjacquino http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45913 armerjacquino Thu, 29 Jan 2009 19:55:59 +0000 http://parterre.com/?p=2658#comment-45913 I'm not bitching anything, paddypig, merely disagreeing with the sentiment you expressed as your favourite. Last time I checked, that was allowed. I’m not bitching anything, paddypig, merely disagreeing with the sentiment you expressed as your favourite.

Last time I checked, that was allowed.

]]> By: Will http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45911 Will Thu, 29 Jan 2009 19:46:55 +0000 http://parterre.com/?p=2658#comment-45911 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. 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.

]]> By: paddypig http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45910 paddypig Thu, 29 Jan 2009 19:44:09 +0000 http://parterre.com/?p=2658#comment-45910 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. 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.

]]> By: Will http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45895 Will Thu, 29 Jan 2009 18:41:13 +0000 http://parterre.com/?p=2658#comment-45895 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! 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!

]]> By: Della Traviata http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45887 Della Traviata Thu, 29 Jan 2009 18:17:26 +0000 http://parterre.com/?p=2658#comment-45887 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. 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.

]]> By: armerjacquino http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45886 armerjacquino Thu, 29 Jan 2009 17:55:00 +0000 http://parterre.com/?p=2658#comment-45886 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. 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.

]]> By: La Cieca http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-4/#comment-45881 La Cieca Thu, 29 Jan 2009 17:36:57 +0000 http://parterre.com/?p=2658#comment-45881 "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" “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”

]]> By: paddypig http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45880 paddypig Thu, 29 Jan 2009 17:31:24 +0000 http://parterre.com/?p=2658#comment-45880 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. 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.

]]> By: In the know http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45809 In the know Thu, 29 Jan 2009 07:18:07 +0000 http://parterre.com/?p=2658#comment-45809 sorry Lick, you are absolutely right....typo. Rienzi. sorry Lick, you are absolutely right….typo. Rienzi.

]]> By: Wotan http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45808 Wotan Thu, 29 Jan 2009 06:46:33 +0000 http://parterre.com/?p=2658#comment-45808 What about Caramoor? Are they still on for this summer season? What about Caramoor? Are they still on for this summer season?

]]> By: Hans Lick http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45807 Hans Lick Thu, 29 Jan 2009 06:32:41 +0000 http://parterre.com/?p=2658#comment-45807 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.) 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.)

]]> By: In the know http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45798 In the know Thu, 29 Jan 2009 04:36:46 +0000 http://parterre.com/?p=2658#comment-45798 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. 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.

]]> By: Ann Arbor http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45771 Ann Arbor Thu, 29 Jan 2009 01:16:42 +0000 http://parterre.com/?p=2658#comment-45771 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. 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.

]]> By: operaddict http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45770 operaddict Thu, 29 Jan 2009 01:16:02 +0000 http://parterre.com/?p=2658#comment-45770 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. 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.

]]> By: Nerva Nelli http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45765 Nerva Nelli Thu, 29 Jan 2009 00:46:27 +0000 http://parterre.com/?p=2658#comment-45765 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? 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?

]]> By: jatm2063 http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45755 jatm2063 Thu, 29 Jan 2009 00:08:36 +0000 http://parterre.com/?p=2658#comment-45755 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. 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.

]]> By: whatever http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-3/#comment-45732 whatever Wed, 28 Jan 2009 22:08:33 +0000 http://parterre.com/?p=2658#comment-45732 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! 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!

]]> By: Dominatrix http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-2/#comment-45715 Dominatrix Wed, 28 Jan 2009 20:09:34 +0000 http://parterre.com/?p=2658#comment-45715 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. 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.

]]> By: almavivante http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-2/#comment-45713 almavivante Wed, 28 Jan 2009 20:07:03 +0000 http://parterre.com/?p=2658#comment-45713 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!" 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!”

]]> By: Starry Vere http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-2/#comment-45704 Starry Vere Wed, 28 Jan 2009 19:33:46 +0000 http://parterre.com/?p=2658#comment-45704 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. 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.

]]> By: Lydia Language http://parterre.com/2009/01/28/by-oony-means-necessary/comment-page-2/#comment-45703 Lydia Language Wed, 28 Jan 2009 19:29:27 +0000 http://parterre.com/?p=2658#comment-45703 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. 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.

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