parterre box

19 comments

• 1
  Quanto Painy Fakor says:

  November 16, 2009 at 7:55 AM

  How truly wonderful it is to read something so positive about the MET for a change. Great review from James Jorden. Enjoy it while you can… things are sure to return to filth.
• 2
  Quanto Painy Fakor says:

  November 16, 2009 at 8:02 AM

  
  

  
  
• 3
  Quanto Painy Fakor says:

  November 16, 2009 at 8:09 AM

  
  

  
  

  
  

  
  
• 4
  Will says:

  November 16, 2009 at 1:55 PM

  How great to hear Kurt Streit given the recognition his artistry so deserves. And I’ll bet he is a fully integrated member of the ensemble into the bargain. I’m so looking forward to seeing this!
• 5
  kashania says:

  November 16, 2009 at 3:24 PM

  Damn it!!! I just can’t afford to fly down to NYC to see this. Argh!
  • 5.1
    louannd says:

    November 16, 2009 at 9:55 PM

    double arrrrggggghhhh!
• 6
  lorenzo.venezia says:

  November 16, 2009 at 4:09 PM

  Thank you, La Cieca, for a beautiful and heartfelt review. Were I not booked between Urbino, Assisi, and Vienna, I would certainly come running! I have always loved Patrice Chereau, since THE ring; and his Tristan at Scala, not universally loved, sent serious shivers down my spine for reasons to numerous and complex to mention. I was deeply moved by it. I am sure this is extraordinary and am truly sorry to miss it!!
  • 6.1
    Regina delle fate says:

    November 17, 2009 at 5:29 AM

    Lorenzo – many people like the Chéreau Scala Tristan, even some critics, although needless to say it wasn’t Regie enough for the Germans. I am going to try to see this House of the Dead when it goes to La Scala.
    • 6.1.1
      lorenzo.venezia says:

      November 18, 2009 at 12:01 PM

      Si, certo, anch’io.
• 7
  cruncher says:

  November 16, 2009 at 5:32 PM

  Great review. Love the new pic too!
• 8
  Jay says:

  November 16, 2009 at 7:37 PM

  Excellent review. Also worth checking out: Martin Bernheimer’s Financial Times writeup at
  http://www.ft.com/cms/s/2/72ae6fd0-d2d2-11de-af63-00144feabdc0.html
  • 8.1
    lorenzo.venezia says:

    November 18, 2009 at 12:10 PM

    I used to be terribly annoyed with Martin B. when I lived in LA and he was critic at The LA Times; he was ruthless with icons and referred to Pavarotti and Caballe (in an SF Tosca) as singing sofas, etc. That said, he is a smart cookie, and this review verifies that he has grown wiser as well as older… succinct, to the point, generoso.
• 9
  idreno says:

  November 17, 2009 at 8:04 AM

  Just to dispel some misinterpretations: the show originates in Europe (Aix-en-Provence) and then goes to La Scala, is definitively NOT the other way around.
• 10
  SilvestriWoman says:

  November 17, 2009 at 8:47 AM

  I second Will!!! Having worked with Kurt, I can attest that he is a complete artist and true gentleman. Why is it that Mozart tenors never get there due?
• 11
  The Vicar of John Wakefield says:

  November 17, 2009 at 9:10 AM

  Why on earth isn’t this show being sung in good, clean English?

  As one OPERA reviewer observed recently, Cheryl Barker is now the recorded Kat’a of choice in old Norman Tucker’s splendid rendering:

  Act I Scene 2: Ah, but you, what can you know of this?
  Act II Scene 2: Far away my love is gone across the water
  Act III Scene 2: Ah, Glasha! It’s awful to think of it

  And of course without another Aussie (Sir Charles) no one would be performing Janacek today! He should be counted as an English composer.
  • 11.1
    Harry says:

    November 17, 2009 at 10:14 AM

    Give me Elizabeth Soderstrom any day in Kata Kabanova, Makropoulos Case or Jenufa in the original language.! Some people fail to realise that she was not ‘just cast’ by Decca /Mackerras in those operas but due to her expertise , knowledge and singing ability of them. I know she had at one stage had sung the role of Emilia M. in four different languages for various productions. Let;s see the ‘roll call’ for other singers adapting to the same feats. She is just another of the singers that tend to be always overlooked, thinking back of the greats, here.
    • 11.1.1
      richard says:

      November 17, 2009 at 10:42 AM

      Harry, Soderstrom had an amazing command of languages. I heard her in five different roles, in FIVE different languages! English, German, Italian,
      Russian, and Czech. I also heard her in recital where she included Swedish and French.
• 12
  Harry says:

  November 17, 2009 at 11:55 AM

  Richard I heard her in a long interview once, Boy! Soderstrom came across not only as warm, friendly and engaging; but with a sharp analytical brain and plenty of intelligence to boot.
  Made me think : pity a lot of other opera singers did not have the same resources to interpret a role.
  • 12.1
    Orlando Furioso says:

    November 18, 2009 at 11:22 AM

    She was also hysterically funny when she wanted to be. I recall seeing her receive an award after intermission of a (Swedish Chamber Orchestra?) concert. She started off with “I don’t have a BIG voice…. [perfect pause] but it’s ugly.”