parterre box

23 comments

• m. croche says:

  Is Slatkin available?

  on July 29, 2010 at 9:32 PM
  • louannd says:

    Hey there now! Don’t be pickin on poor Slats. He is really busy in Santa Fe with the new work formerly known as an opera (before the reviews) “Life is a Dream.” and apparently he and the orchestra are one of the best parts.

    on July 30, 2010 at 12:09 AM
    • mrmyster says:

      Slats and the orchestra ARE one of the best
      parts, but so is scenic designer and maybe
      director; only problem is, the composer. But
      what the heck, hire Calixto Bieto, and even
      that wont make any difference!

      on July 30, 2010 at 12:18 AM
      • ianw2 says:

        I’m so depressed about the reviews. Looks like I’m in for a long, long night on August 19. Hopefully I’ll respond badly to Santa Fe’s altitude and be in a state of woozy delirium.

        on July 30, 2010 at 9:37 AM
• NYCOQ says:

  Or they could just hire a real General Director…

  on July 29, 2010 at 10:11 PM
• DonCarloFanatic says:

  La Cieca, you reveal an unsuspected connection to popular culture. Thor–or at least a good pounding–is exactly what the WNO needs.

  on July 29, 2010 at 10:15 PM
• wenarto says:

  CAN THEY HIRE US?
  

  on July 29, 2010 at 10:16 PM
• HarryKessler says:

  PLus ca change…..back in the late 70s, early 80s, Martin Feinstein managed what was then simply the Washington Opera while he was still CEO (or whatever they called them then) of the KenCen. Eventually, he relinquished the KC job and moved to the opea company full-time. The details of the financial arrangement between KC and WO at that time would be interesting to know. The company was minimally-staffed (managing director was an interesting fellow named, I think, Gary Fifield), although the entire enterprise was held together by one of those remarkable women who make miracles behind the scenes: Addice Thomas was her name. Feinstein was a former Hurok executive who (maybe) knew a lot about importing big companies like the Bolshoi but was more or less ineffective (more rather than less) in the day-to-day affairs of the company. Come to think of it, a situation analogous to more recent days in many ways. Domingo is a sweet man, but his tenure at both Washington and Los Angeles has been a slow motion version of the destruction let loose on Welsh National Opera years ago during the single year that it was led by Matthew Epstein.

  on July 29, 2010 at 11:13 PM
  • Jay says:

    Harry, many long-time subscribers regard the Martin Feinstein years as among the WO/WNO’s very finest, with interesting repertory and talented young singers (e.g. Postcard from Morocco, Monsieur Cheufleuri/Trial by Jury, and a heart-stopping Boheme with Sherri Greenawald, Jerry Hadley, and Janice Hall, all near the beginning of their careers). Plus some wonderful Zack Brown productions, all now gone.

    Gary Fifield was one of the earlier AIDs casualties. His viewing took place with his body laid a plywood slab. I believe it was because the funeral home wouldn’t handle his body.

    Addice Thompson may well have a big reason why this period was so successful. But Martin knew his way around the industry, had good connections, and, as a sidelight, his then-assistant, Linda Reynolds, married Isaac Stern, becoming Stern’s third and last wife.

    on July 30, 2010 at 7:48 AM
    • NYCOQ says:

      The Feinstein years coincided with my discovery of opera in highschool and college. Despite doing only 6 or 7 productions a year he managed to give you a warhorse or two plus interesting 20th century opera or new works. My tastes in opera were formed by what was produced at Washington Opera in the mid-80s to early 90′s. Janacek, D’Albert, Argento, Carlisle, etc. were all introduced to me through WO. My first Handel opera was viewed there and started my love of Baroque music. He also did bring in a lot of young singers who went on to major careers. AND he was able to keep the company in the black during the rescession of the early 90′s. Of course I wasn’t aware of the background goings on of Addice Thomas and the like, but I remember his years there as being particularly successful.

      on July 30, 2010 at 8:34 AM
      • Jay says:

        NYOQ, the WO “Semele” in the Terrace Theatre was my first staged Handel opera and hooked me on Handel. A powerful production of Turn of the Screw” was also staged in the Terrace, as one of the best “Barbieres” I’ve ever seen and Peter Anastos’ intriguing “Sonnambula”, etc.

        It’s just too bad all the wonderful Zack Brown productions, esp. “Boheme”, were destroyed. By now they would be showing their age. But at least some were prematurely trashed.

        on July 30, 2010 at 2:10 PM
    • Lalala says:

      I agree–the Washington Opera years under Feinstein were some of the most enjoyable years I’ve witnessed in opera. I particularly liked when the company split their season between the Opera House and the Eisenhower Theater (both in the Kennedy Center). The casts were young, energetic, and appropriate. The orchestra, although maybe not as strong as it is today, also did a good job with the varied rep. We were shown a lot of Zack Brown productions which were gorgeous. The company had the large backing of many folks who no longer seem to be a part of the scene and I think they are missed. The family atmosphere that made up that company seems to be gone. Oh–and another name that was a big part of the last 10 years or so of the Martin Feinstein years was Ed Purrington. He was responsible for much of the casting and is one of the more respected names int he business. Many singers speak very highly of him (and of Mr. Feinstein as well).

      on July 30, 2010 at 10:28 AM
  • CarlottaBorromeo says:

    I’m not in a position to comment on Washington Opera in the Feinstein era but this remark about Matthew Epstein is utter nonsense. Quite apart from the factual error (Epstein was in charge for three years I believe) it was a highlight in WNO’s history (British debuts for Susie Graham, Paul Groves, Christine Schaefer; the emergence of Rebecca Evans; the beautiful Cendrillon – why was it never revived?; Moshinsky’s last good production, Beatrice et Benedict – just to mention a handful of things). The decline set in with Anthony Freud and now we suffer the complete anonymity of the current regime. If only the funding had been there to keep Epstein in the job how much the operatic scene in Britain might have been improved in the 90s…

    on July 30, 2010 at 10:55 AM
    • Nerva Nelli says:

      “If only the funding had been there to keep Epstein in the job how much the operatic scene in Britain might have been improved in the 90s…

      Not to mention the operatic scene in the States ever since!”

      on July 30, 2010 at 6:04 PM
• Quanto Painy Fakor says:

  Bravo Wenarto and Friends!
  

  on July 30, 2010 at 3:21 AM
• Quanto Painy Fakor says:

  on July 30, 2010 at 3:28 AM
• havfruen says:

  What’s next? Are the Dodgers going to absorb the LA opera?

  on July 30, 2010 at 8:28 AM
  • Byrnham Woode says:

    Then they could be called the “Artful Dodgers”

    on July 30, 2010 at 10:07 AM
• ianw2 says:

  Good news! Der Kaiser may have another chapter for his next book!

  on July 30, 2010 at 9:41 AM
• Quanto Painy Fakor says:

  Addice was a sweet person, but just a secretary type. Fifield was a total loser reject from Kurt Adler. Gary’s death was sad indeed.

  on July 30, 2010 at 9:49 AM