Cher Public

  • Camille: We got hooked by this and are currently in the last part of Act III and yes, you sure do learn a lot, Buster, you are so right!... 10:07 PM
  • Camille: Only referring to either/or of these ladies as the prototypical soprano lirico fotogenico of each other’s respective time... 10:04 PM
  • Krunoslav: ‘ Vogt and Kaufmann were on opposite ends of the spectrum vocally.’ Really? Have you tried Lauritz Melchior, Paul... 9:48 PM
  • mercadante: Not really, Farrar could take an interval cleanly. 9:30 PM
  • kashania: I was referring to her second act hat but both are fabulous, really. 9:07 PM
  • Porgy Amor: No, that is Act One. For the Act Two processional, there is a hat that had never been alive (presumably) that is just as... 9:00 PM
  • rapt: Is this the chapeau in question? http://www.mvdaily .com/articles/2007 /03/lohengrin1.jpg 8:25 PM
  • Camille: She’s the elder Renée Fleming 8:08 PM

twitterdammerung

gimmick

The Royal Opera House, which in its past season glitzed up its programming with such gimmicks as a tabloid tie-in and a mezzo-soprano strapped to a wheelchair, now looks to be getting desperate. The venerable opera company has commisioned a “Twitter Opera,” with a libretto to be gleaned from sundry tweets posted via the popular social networking service.  The resultant text will then be musicked by Helen Porter.

“Current posts can be viewed at www.twitter.com/youropera.”

13 comments

  • Noel Dahling says:

    I just love all of La Cieca’s references to the lyrics of Sondheim. It makes me feel smart when I get them.

  • brooklynpunk says:

    This morning (Wednesday, August 12th) the NPR morning show “The Take-away” had an interesting and amusing report on the ROH’s plans for this “TwitterOpera”

    Availible for listening “on demand” at npr.org..or, wnyc.org

  • Harry says:

    browser: (comment 10#) for a start, being so confidently dismissive, you miss the ‘tongue in cheek’ of my comments. Those that reflect the present popularity of ‘Idol Show fame’ a la that Susan creature or any other number of Paul Potts’ wanting to scream Nessun Dorma out in their bathroom or shithouse and go on some show to be ‘a Star’. I was not referring to serious competitions for artists dedicated to a possible real life career in Opera…rather than gaining a CD recording contract for ‘pop -toast opera la-la turnovers’! So (as you alleged!)who is now left being the real ‘tool’? I can easily nominate one person, in particular!
    You also “am glad” that I have never been near administration of, or shall we say ‘direct dealings’ around Opera. Some people DO MAKE blind silly mistaken projections onto other people. Sorry to disappoint your misguided ideas that “they are just in my fantasy mind”.

    Contributing here I remind that some of us prefer to be rather circumspect: to stand back and not want to ‘blow our bags’ about our true personal experiences in and around /or with the production of Opera, per sec. Being -what one would call -- ‘not just the one of the usual general audience members’.Instead, drawing quietly upon those past experiences to comment on now presented ‘brainwave’ schemes to better Opera. You on the other apparently wish to personally be ever so forward. That is your prerogative.