Cher Public

  • Lady Abbado: Norma with Cerquetti and Corelli, Rome 1958: httpv://www.youtub e.com/watch?v=t-GN MbNwOII 4:32 PM
  • phoenix: no intention here of trying to upstage Marty Sohl or Nina Stemme, but in the name of esoterica, I must alert all that... 12:24 PM
  • jackoh: Well, there at least they could die in a real desert. 12:05 PM
  • phoenix: simple – when they get kicked out of that abysmal New Orleans, put ’em on a wagon train going west on the southern... 11:42 AM
  • gustave of montreal: In 1945 Hitler and his wife, Eva, committed suicide in Berlin. Is he still burning in purgatory ? 11:30 AM
  • jackoh: How could we abandon the place where Manon died? 11:23 AM
  • operablogger: Doesn’t matter — I don’t think Jefferson saved the receipt. 10:48 AM
  • m. croche: Born on this day in 1885, Futurist noisemaker Luigi Russolo. httpv://www.youtub e.com/watch?v=l0QV o-smRSo 10:19 AM

My eyes, my eyes!

bette_blindWho knows better than Peter Gelb that “into each life some rain must fall” — especially now, when the Met honcho may have to replace a director who was the rock upon which was built the upcoming season?

22 comments

  • 1
    mrmyster says:

    Horrors! Do you mean La Page?

  • 2
    Pelleas says:

    Sounds like Peter Stein to me (Peter/Petrus=rock, Stein is German for Stone, etc)

    • 2.1
      Regina delle fate says:

      Stein also means rock as in Ilsenstein (Hänsel & Gretel). La Cieca could make a fortune as a setter of crossword puzzles.

  • 3
    Valmont says:

    Hmm, rock? Peter? Peter Sellars?

  • 4
    Satisfied says:

    Hmmmm…my first thought was Lepage, but that didn’t fit well with the “into each life some rain must fall” quote. I’m going to go with *the* director at the Met -- music Director that is. My vote is Levine, whose big “fall” on stage in Boston caused great havoc for the BSO. Let’s face it, Jimmy was very influential when planning the “upcoming season”…I certainly can’t see Gelb fitting in Wozzeck and Nixon in Chino on his own.

    …Does that count for “showing my work”?

    • 4.1
      Graefin Geschmutz says:

      I think it’s pretty clear, from La Cieca’s language, that Peter Stein is in question. His dropping out would be a real loss. He is widely regarded as one of the greatest living directors of opera, a reputation that, judging from his ‘Falstaff’ (Welsh Opera), which I saw at BAM, is well deserved. For me, his ‘Boris’ with Terfel was the prospective new-production highlight of the season (as opposed to the ‘Cirque de Soleil’ Ring, which I will probably skip, unless Runnicles ends up conducting).
      Also, I very much doubt that Levine had anything to do with the scheduling of ‘Nixon in China.’ Judging from his own repertory choices in contemporary music, it’s a good bet that he has no interest whatever in Adams. This decision strikes me as one of Gelb’s bids to lure the downtown crowd uptown.

      • 4.1.1
        Henry Holland says:

        This decision strikes me as one of Gelb’s bids to lure the downtown crowd uptown

        Or: This decision strikes me as one of Gelb’s ideas stolen from Gerard Mortier’s sadly never-to-happen first NYCO season, which included Nixon in China.

        • 4.1.1.1
          Graefin Geschmutz says:

          Quite right, HH. And of course I meant ‘Boris with Pape.’

  • 5
    Pelleas says:

    Isn’t there that story of the blind man in Boris, near the end? My eyes, my eyes? (Sticking with P.Stein)

  • 6
    • 6.1
      Dan Johnson says:

      ON THE OTHER HAND, “into each life some rain must fall”—such as the Act 2 cloudburst in Nixon, as directed by Peter “tu es Petrus” Sellars?

  • 7
    Henry Holland says:

    Speaking of operatic eyes, if your musical tastes include late romanticism/verismo, I highly recommend D’Albert’s Die Toten Augen (The Dead Eyes):

    http://www.amazon.com/Die-Toten-Augen-Complete-Opera/dp/B000042OED

    • 7.1
      Konrad Swollenrod says:

      I wholeheartedly agree. Die Toten Augen is one of my favorites, and a bargain at the price.

  • 8
    BETSY_ANN_BOBOLINK says:

    So many clues. So many possibilities. “Rain must fall” leads to a forty-year reign. “Petrus” could be Gelb himself, who after all is a legitimate Peter. Peter was an apostle as was -- -- -- JAMES ! ! But “rock upon which was built” suggests the parable of the house on the sand, which leads to George Sand, which leads to androgyny which leads to Rufus Wainwright which leads to the legal ruling that having commissioned it, The Met is honor-bound to produce ‘Prima Donna,” like it or no.

  • 9
    tannengrin says:

    I thought this was a reference to Liu in Turandot and a test drive to announce the eternal retirement of that Zeffirelli, uhm, thing. I mean, aren’t ALL seasons at ALL opera houses built upon the glory that is Franka Zefirelskaya?

  • 10
    Camille says:

    Not pertinent to this discussion but, hopefully, of some interest to parterriani, is the Sirius broadcast about to begin @
    6 pm EDT, of that historic, fabled commencement of the old Bing regime, Don Carlo. Bjoerling, Siepi, et al.

  • 11
    mrmyster says:

    Stephen Wadsworth! Competent, pleasantly
    conventional, just about right for Boris!
    Lucky he’s available. That’s a huge amount
    of work on short notice.

    • 11.1
      orfeoedeuridice says:

      Will he keep the same sets as seen in the Godunov director video on the Met’s website?

  • 12
    Will says:

    The way the MET works, these sets will already have been built and may have gone through technical rehearsals or be about to do so this summer, so yes — Mr. Wadsworth will have to work withing the sets conceived as part of another director’s concept.

  • 13
    Camille says:

    Oh goody, Betsy came to your aid, leboyfriend!
    I cannot record it so I’m happy someone is able to do so for you.
    So far the palm goes to the men, excellent all. Eboli’s Veil Song (Fedora Barbieri) restricted to one verse, as well the romanza of Elisabetta (Delia Rigal).

    Robert Merrill the excellent Marchese di Posa, with Fritz Stiedry conducting.

    Speaking of little Renata,of the many Don Carlo’s I’ve caught at the Met, I must say that her Elisabetta is one I’ll always remember and cherish (1979).