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Bringing Mariusz back

Good news, barihunk lovers! According to a press release from the Met, Mariusz Kwiecien will return to the stage for the title role of Don Giovanni on October 25, in time for the HD telecast October 29 as well as remaining scheduled performances through November 11.


  • perfidia says:

    I hope he is not pushing his return because of the telecast. That could spell trouble down the road.

  • Tenorfach says:

    Although I am very happy to hear he is returning to the stage, I am worried he is pushing is luck! Back problems should not be messed with -- just as Bryn Terfel!


    • brooklynpunk says:

      HOPEFULLY… the damage wasn’t TOO severe… it does seem somewhat soon to return to action, but — if all is really well with MK, this is GOOD NEWS!

  • louannd says:

    Terrfic news, as much as I love Mattei, I absolutely want to see Mariusz K return for the telecast.

  • Will says:

    Was the extent of the damage and the seriousness of the operation ever announced publicly? There are spinal operations and then there are spinal operations — not all are equal.

  • Satisfied says:


    Glad to hear MK is getting well, but i really wanted to see Mattei in the part! Saturday is out for La Audra at Carnegie and nothing under 150 available through the Met for this Monday.

    Anyone have any advice about standing room? I will also accept donations from lonely Parterreians ;-)

    • brooklynpunk says:

      SATISFIED: happen to have the afternoon free, for some reason…ya might want to see if you can snag a $20 RUSH ticket for the performance, which is actually a much better deal then standing room…or, ..have you seen if score-desk seats might still be availible?

      • Satisfied says:

        I have used the Rush program before and really enjoyed the great value and spectacular view. Sadly, I won’t be able to rush this performance.

        Can you tell me more about score-desk seats? Never heard of them.

        • Sheldon says:

          Satisfied--The score-desk seats are way at the top of the house, the level above the highest “boxes” on each side. Because they are so high up, they really have no view of the stage, hence they are for score queens.

          • Nerva Nelli says:

            High time for F. G. Gelb to market seating from which one could see but NOT hear “stars” like Poplavskaya, Machaidze, Kocan and Erdmann.

          • Feldmarschallin says:

            let us not forget Annette Dasch as well. She belongs in that category better seen than heard too.

          • Nerva Nelli says:

            True: the Dasch/Costa-Jackon/Erdmann

          • Nerva Nelli says:

            I’ll try again:

            True: the Dasch/Costa-Jackon/Erdmann ROSENKAVALIER trio can be sung at some upcoming Gelb Gala.

            Meanwhile Tony T confirms how ill-suited his ears are to his job, and how toadying to the Met and recording companies:

            “The rising German soprano Mojca Erdmann, in her Met debut, was a sweet-voiced and beguiling Zerlina”

            Note also:

            “the strong bass Stefan Kocan”

            “the hearty bass Joshua Bloom in an endearing performance”

            “Luca Pisaroni was a dynamic Leporello, singing with a muscular voice, rich colorings and agility. Handsome and full of bluster, this youthful Leporello …. there was some intriguing sexual tension in Giovanni’s roughhousing with his servant”

            “the charismatic Swedish baritone Peter Mattei..suave, seductive phrasing and menacing intensity. At 6-foot-4, he was lordly, cagey, heady with desire and glibly reckless.”

            “A hearty young Polish baritone”

            Did ever writer yearn so palpably to deploy “strapping”! Cieca, you have gone and spoiled Tony’s fun!!!

        • brooklynpunk says:


          The score-desk seats are generally offered thru the MetGuild, on the main MetOpera site (I’m NOT sure if you can usually just walk up to the box-office and get them that way…maybe…?

          They are on the extreme sides of the Balcony/FamilyCircle level…and..unless you are fortunate…or savvy enough to know the numbered seat system( if you can snag a seat on the rail..closer to the back of the can lean over and get at least a partial view…)..are COMPLETELY VIEW-LESS of the stage..( which more times then not, these days, is no major you are so inclined -- are provided with a little desks and reading lights, to follow the score..or …read the Racing forms…)

          The sound is wonderful.., though… same as it is in Family Circle standing Room, as well.

          I haven’t done it yet this season, but I believe tix are somewhere around $10-$16… more on Gala or new -production openings…and maybe on Saturdays as well…

          • Satisfied says:

            Thank you all very much!

            I found a kind stranger on Craig’s List who sold me a Family Circle Front seat at face value.

            Very much looking forward to this performance! Mattei one week and Kwiecien the next! Gotta love New York!!!

          • Camille says:

            Score desks are offered only through the Met Opera Guild at their offices on the sixth floor of that building across the plaza == Rose Building 70 Lincoln Plaza == behind Juilliard. They are 12 bucks, I think, now. I haven’t done it for years now, but the sound is terrific and if you get the very first seat up front, the bounce of the sound up is really something!! Just don’t lean over too far or you’ll be landing on the orchestra!
            Certain performances, if not too many bodies in seats, you can plop a score down and score the seat next to it and lean over and see the parts you want. Don’t expect to be able to do this at more popular shows, as it is mighty territorial and tetchy up there. You won’t find little old arthritic Camille up there nowadays, as she can’t climb that high anymore.

            Anyway, it’s a big bang for your buck.

  • djedushka says:

    My standing room advise:

    The last time I was in standing room was at the Old Met and, Honey, if you were not a bottom it wouldn’t do to be leaning on the rail.

    • Satisfied says:

      HA! Loves it!

      Wouldn’t even think of doing it except for Mattei. I believe our Doyenne is correct: La Scala won’t let Mattei do the HD. I would add to that: whomever does the HD will get the performance before and after (until Finley steps in…so excited about that, BTW).

      Looking at it that way, I feel like I have one chance to catch his performance. And gurl…if a bottom I needs to be, than so be it! (Just be gentle….)

    • mrmyster says:

      Damn! Are they still doing that?
      I will never forget the closing weeks of the Old Met in its final season.
      I mean standing room made Sodom and Gomorra look like a Presbyterian
      Ah, them wuz the days.
      But I’d better stop right there lest I talk out of school!

      • rysanekfreak says:

        I saw it done in San Francisco in the standing room of the upper balcony. With lots of people standing around watching (pretending to be engrossed in the opera). I could not believe my eyes. This was when I was young and innocent back in the 1980s. I was certain that the ancient volunteer ushers were going to interfere and stop it, but no….

        Ah, those were the days.

    • mandryka says:

      Well things have changed a good bit in 45 years, honey. It’s pretty safe in SR, and there are usher/monitors who prowl the area all night to discourage all but the MOST subtle malfeasances.
      (Not everyone, of course, is happy with these developments.) At $19.50 — including “facilities fee” — Standing room upstairs at the Met is one of the best bargains in New York. If you’re tall, it’s probably more comfortanle than many much more expensive seats.

    • Camille says:

      “‘Cause if Baby, I’m the bottom, you’re the Top!”

    • IdiaLegray says:

      TT has obviously not seen much of Grandage’s stage work. His work with classics like Shakespeare and Schiller at London’s Donmar Warehouse is always economical, relatively traditional, with focus on the actors rather than any radical revision of the text (thank heaven!!). I don’t know why TT thought Grandage would come up with something revisionist. Grandage always show great respect for the text as written. Even his EVITA is more “traditional” than the original Hal Prince production. I like his work very much, but regie fans who like Wagner with chorus members dressed as rodents will not.

  • operaassport says:

    All hail the Polish Sausage!

  • irontongue says:

    What, you think we would have been SUFFERING with Peter Mattei???

  • Constantine A. Papas says:

    I’m sure MK got his surgeon’s OK before returning to singing. For the past sveral years, back surgery for acutely herniated disk has changed dramatically, is minimally invasive, and can be corrected with no incision by using fine instuments though the skin under x-ray guidance. The old procedure- laminectomy- required a large incision over the lumbar spine, deep dissection and some removal of the arch of the vertebra. Instead of staying in the hspital for a week with continuous IV drip medication to control pain, patients can go home within 24-48 hours. We’re all happy Marius is doing well and wish him the best. Looking forward to see him at the HD telecast

  • Camille says:

    “The Polish barihunk recently underwent surgery for a herniated desk and rumors were flying that he would not only cancel the rest of his run of Giovanni at the Met…”

    So Mariusz has got a problem with his furniture, according to Barihunks. All makes sense now--how he’ll be able to return so soon in palcoscena!