Answered prayers
“…this stage still has a tendency, it seems, to swallow some of the bloom and resonance of voices…. For both works, the orchestra came through just fine. Less so the voice, though the sound was honest and clear…. the amplification did not make these singers much more audible than those who sang the old-fashioned way…. Yet the sound of the pianos, placed behind a scrim, seemed distant.” [Need You Ask?]
“Though her voice is lyric and light, her sound is so plush and penetrating”
WTF!? What does that even mean? I thought a persons’s voice was their sound.
“Strangest staging ever of Don Giovanni!”
HA!!
Questo e’ il fin, di chi fa mal! (Di chi fa mal doo wop doo wop doo wop)
“Strangest staging ever of Don Giovanni!”
Then you haven’t yet seen Christopher Alden’s new D.G. at NYCO,(Opening Sunday, November 8, at 1:30pm) But that was very funny…George Manahan and the NYCO orchestra descending into the netherworld…! Did anyone else see the dress rehearsal of it today?
I saw a Christopher Alden Don Giovanni MANY years ago (a young Lauren Flanagan was a second cast Donna Anna).
It was set in a church basement…a cross on the wall, LOTS of folding chairs. Donna Elvira wore a ’50s large
black and white houndstooth coat and carried a gun in her purse. The Aldens are usually very good helping singers with character and relationships…that is if the singer is receptive to such a heretical approach.
Wow, Graciella, THAT must have exploded the heads of some members of the audience. And we thought the Bondy “Tosca” was to kill for …
Ha, ha , what about Peter Sellars Spanish Harlem Don Giovanni? With the Don and Leporello played by identical twins?
And Lorraine Hunt as a punk Donna Elvira?
Donna Anna is a junkie and shoots up before the cabaletta
to Non Mi Dir.
This all can be seen on DVD.
But older operas often work better with a concept production than, say 20th century ones, which often have much more specific librettos and stage directions. Not to say they can’t be regie’d, but it’s more of a stretch
than, say 18th century works.
Perhaps the jaunty demonstration of the orchestra elevator was a reference to the opening of the neighboring opera house where the machinery famously did not function properly upon its crucial debut?
alto I didn’t know this piece of trivia… really?
I saw a Ktya Kabanova in Berlin (thalheimer production) a few years back that raised the hydraulic orchestra pit during the final scene to give the impression of Katya going under into the waters…
yes, it was a stretch! weirdest of all, the lights come up and the orchestra is sitting on stage. Wha?!
Squirrel, yes , the Met had a turntable as part of it’s equipment when the house was set to open in Fall 1966.
The opening production was a Zeffirelli staging of Samuel Barber’s new work, Antony and Cleopatra to a libretto adapted from the Shakespeare by none other than Frengo himself.
The production was Zeff’s second for the Met and was MASSIVE . Leontyne Price has very bulky costumes and at one point in rehearsals got stuck in a doorway.
The staging used all the new mechanical goodies that the new house had, including the turntable. But Zeff’s sets were too heavy and the turntable broke down. Big time. No fix available. The production was adapted to
do without the turntable.
Also affected was a new staging of Frau Ohne Schatten, which was also to use the turntable. This was revised to make heavy use of the stage elevators and the Frau was a huge success. Unlike the Antony, which was a big, heavy bomb.
It took several years to get the turntable working and incorporated into a new production. The first time it was finally used was 3 1/2 years later in a new production of Norma in April 1970. I was at the premiere, when the turntable rotated and change the scene from one set to another, the audience burst into cheers.
But this is ancient history, no? Did the planners for the event at the Koch last night still have this old
snafu in mind? Or was it just to show off a little?
oh the turntable, yes this story is familiar now. 1966 was indeed a long time ago!