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Tudor City

It will come to no surprise to the parterriani (though perhaps something of a relief to Peter Gelb) that the most coveted ticket of the fall season in New York is Anna Bolena, the Donizetti premiere at the Met featuring Anna Netrebko‘s lovely head.  Complete results of the more than 1,100 votes cast in the Fall Poll after the jump.

Anna Bolena

284

Siegfried

159

Faust

135

Don Giovanni

123

Atys

94

Adriana Lecouvreur

91

Satyagraha

77

Moïse et Pharaon

57

Rodelinda

52

Dark Sisters

45

Other*

21

The Infernal Comedy

11

* Write-in votes for Billy Budd, Die Dreigroschenoper, Elisir d’amore, Enescu’s Oedipe and Faure’s Penelope, Ernani, Götterdämmerung, Il Sogno di Scipione at Gotham Chamber Opera, Khovanshchina, Makropulos Case, Manon, Matos in Nabucco, Nabucco, Prima Donna, and The Enchanted Island.

35 comments

  • Avantialouie says:

    I have, up until now, had great respect (mostly) for the members of this forum. Had I understood, however, how truly gullible some of them actually are, I would have scheduled a Carnegie Hall recital for this season, programming only music I cannot sing. Based on these results, it would have been a sell-out, provided I had marketed it properly.

    • OpinionatedNeophyte says:

      Isn’t it possible that some folks were gauging others anticipation and, even more likely, were expressing their anticipation at what they believe will be Anna’s inevitable failure?

    • kashania says:

      Regardless of how well people think Anna will do (I think she’ll be quite good), there’s no doubt that this production is a major event. Also, the cher public is full of Donizetti lovers who are thrilled that this opera is finally being presented at the Met.

    • thomas says:

      It’s quite possible that a number of the Bolena votes are for the Meade performances.

  • kashania says:

    I’m quite intrigued by Lully’s Atys. Zachary Woolfe tweeted that it was one of the best things he’s ever seen. I’m trying to get to know Lully better since we’re presenting his Armide here in Toronto in April (and then taking it to Glimmerglass). There’s something about the music of 17th century French Baroque opera that is quite spell-binding.

    • Kashy -- did you see this :

    • m. croche says:

      Here’s a book you might want to add to your reading list:

      Georgia Cowart, “The Triumph of Pleasure: Louis XIV and the Politics of Spectacle.”

      The author looks closely at French allegorical ballets and divertissements c. 1650 -- 1710, particular with reference to the competing values of “glory” and “pleasure” (no guess which one wins). It gets at Lully only through this particular angle, but -- in addition to being a good cultural history (why have I never read d’Urfé?) -- it helped me appreciate better the dramatically-difficult prologues which launch that era’s tragédies lyriques. A guide to political symbolism in music, it’s a bit of Kremlinology for the powdered-wig set.

  • lorenzino says:

    I’m sure AvLou’s former great respect for all of us was (mostly) unwarranted, unsolicited and frankly unwanted. But I must thank OpNeo for the advance review of Bolena. I’m sure I can hardly wait to experience her inevitable failure.

    • OpinionatedNeophyte says:

      *eyeroll* I was merely suggesting that some of the people who are anticipating the performance believe that Anna will fail, I said nothing about what I think. After that broadcast over the summer or last spring or whenever i am convinced she will be much more succesful in the role than she was in Lucia or Puritani.

  • Constantine A. Papas says:

    Anna Bolena, finally, after over two hundred years, arrived at the Vienna State opera and the Met, featuring Anna Netrebko. This is alone opera news, no matter how much some dislike AN. Even if she’s good- she was declared “diva assoluta del mondo” after her Vienna performance- some parterians will declare that she “butchered” AB at the Met, like she did in Vienna. AN will never be accepted by some opera aristocrtats, whereas uncultured plebias, like me, think her perfomances may not be perfect but bring something memorable and thrilling.

    • leonora3 says:

      Though I live in Central Europe and go to Wienna Staatsoper several times a year I didn’t have chance to see Anna Bolena there, as the tickets had been sold out fast and long time before. I hope I will see Bolena during my yearly regular visit in February at Met.
      I think, AN irritates “opera aristocrats” more with her behavour, silly TV adverts and interviews, than by her singing. I try not to pay attention to it and just enjoy her on the stage, I loved her Lucia at Met, as well as Norina last season. Anyway, the title “diva assoluta del mondo” is too much, is there such a heroine in opera world these days? I doubt. In Opera News review I read :” Donizetti queen takes her (AN) one giant leap forward to claiming the title of diva assoluta del mondo”. Well, opera fans are looking for
      “diva assoluta” but they are not born in each generation, perhaps once in a century.
      Anyway, I still think, AN is a great choice from these days sopranos for this role, when the Callas can’t ressurect.

      • louannd says:

        Well, opera fans are looking for “diva assoluta” but they are not born in each generation, perhaps once in a century.

        Wow, considering opera has only been around for about four centuries (give or take a few years), most of us will never get to hear this phenomenon.

        • leonora3 says:

          Sorry, I didn’t put it clearly. I meant “diva assoluta del mondo”. Who is it these days?

        • Cocky Kurwenal says:

          It’s a ludicrous notion anyway. Who were the contenders In the C20th- Ponselle, Melba, Tetrazzini, then Callas and Sutherland- all of them aligned pretty firmly on the Italian rep axis, involving coloratura and/or spinto tendencies. Never mind that Flagstad was active until the 50s and Nilsson from the 50s, both of whom were unique, unparalleled phenomena with few competitors in their very popular field.

  • I’m coming to NYC for the weekend in February and have tickets for the very last Anna Bolena, which is a Saturday Radio Broadcast. Does anyone have a clue why the AB broadcast is scheduled to start at NOON?????? The Saturday evening is Barbiere. Why the pushed up start for the Matinee. I’m going to Gotterdammerung(Dalyaman’s one performance)the night before so it’s going to be a quick turnaround for me going from Wagner to Donizetti?

  • mandryka says:

    I have already heard several people say that they plan to attend the opening just to be able to boo Trebs. GIRLS !

    • Will says:

      I have seen organized, premeditated booing several times at the MET, with the booers stationing themselves in front of sounding board surfaces like the wall in front of the Family Circle for maximum sound. It is one thing to be offended by a genuinely incompetent performance and boo spontaneously in protest, and quite another to organize booing long before hearing the performance no matter how it turns out.

      • ianw2 says:

        So, not really that different from the favourite sport of some of these very Parterriani about, say, six months ago when about, oh, six trillion words about Trebs’ audacity to even so much as look at the score when EVERYONE KNOWS she can’t trill?!

    • La marquise de Merteuil says:

      Madryka, although I’m not to optimistic of AN’s delivery of this role, I think this kind of pre-meditated thing is just disgusting. I’m not a big fan of booing but I guess if you boo spontaneously at a sub standard performance that’s one thing. Regardless, of what people may think is the yardstick for bel canto, if AN’s performances are anything like the Vienna ones IMO it will be acceptable. I’m looking forward to the broadcast…

      • La marquise de Merteuil says:

        ps: optimistic of cleanly articulated coloratura, a clear trill -- discussed to death! but the vienna performances were acceptable if not more than! in case if it sounds like I’m contradicting myself…

    • Nerva Nelli says:

      “Giudici… ad Anna… ad Anna-- GIUDICI!?!”

  • Camille says:

    Penelope? Who is actually doing it or is that just wishful thinking?

    Didn’t Manhattan School or Mannes do it a couple years back with a girl who went on to be a Met Auditions Finalist?

    If it’s going on I’d like to hear it.

  • oedipe says:

    “Atys” is an absolute gem from all points of view: the production, the sets and costumes, the orchestra, the singing…
    The only thing that is missing in the BAM performances is Stéphanie d’Oustrac, who couldn’t come to NY because she has to be in Paris, where she is singing Sextus in Clemenza at the Garnier (and doing a great job of it too). I am just back from the Clemenza, a good production over all, with an elegant (though not very profound) staging by Willy Decker. Hibla Gerzmava was an excellent Vitellia, but Klaus Florian Vogt was a rather disappointing Tito: right fach, wrong style.

  • louannd says:

    these comments appear to be “lost”??? I have watched the entire production on Youtube and oh so wish I could see it. Too bad about Stéphanie d’Oustrac not being available.

  • The Vicar of John Wakefield says:

    “Klaus Florian Vogt was a rather disappointing Tito”

    Where on earth was Andrew Tortise??? A fine tenor in the Covey-Crump tradition.

  • louannd says:

    not anymore.