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  • willym: “Renee was great — a real sweetheart,” concedes a production source who hopes the show goes on... 3:40 PM
  • Krunoslav: Is Ms. Rosenberg casting the covers who don’t sing or casting the people who are flown in to... 3:26 PM
  • antikitschychick: Ivy: I’m talking 7-10 yrs down the line here, not right now and certainly not at the... 3:06 PM
  • Guestoria Unpopularenka: So were Julius and Ethel. 3:01 PM
  • Poison Ivy: Jesus, the person responsible for casting covers is Lenore Rosenberg, a fucking American. 2:48 PM
  • zinka: TYPO..I mean: AND Enjoy (not “have” everything…o h..I forgot others who made me so... 2:29 PM
  • zinka: httpv://www.youtub e.com/watch?v=x9Sb DSr8Mfk On this day,before I order my pato (who?) and kosher... 2:26 PM
  • Guestoria Unpopularenka: I can see Anti as being one of those ruthless voice-wrecking agents :P 2:12 PM
  • Guestoria Unpopularenka: Um, she wasn’t pregnant here. Awkward… 2:04 PM
  • Cicciabella: She looks like Arnalta when she was nursing Poppea. 2:00 PM

The not too distant future

UPDATE: The Met’s 2012-13 season brochure and press release are now online.

EARLIER: The Met’s top-secret hush-hush season announcement will emerge from the Holy Grail shrine later today. Until then, La Cieca thought you would enjoy having all the reliable rumors for 2012-13 in the same place, a magical medium called… the Internet!

Here’s what this afternoon’s press release is rumored to include:

New productions:

L’elisir d’amore. September 24 (Opening Night), 27, October 1, 5, 10, 13m, January 30, February 2, 6, 9m. Conductor: Maurizio Benini; Production: Bartlett Sher; Set Designer: Michael Yeargan; Costume Designer: Catherine Zuber; Lighting Designed by: Jennifer Tipton. Adina: Anna Netrebko, Nemorino: Matthew Polenzani, Belcore: Mariusz Kwiecien, Dulcamara: Ambrogio Maestri (Sep, Oct) / John Del Carlo (Jan, Feb).

The Tempest. October 23, 27, 31, November 3m, 6, 10m, 14, 17m. Conductor: Thomas Adès; Production: Robert Lepage; Set Designer: Jasmine Catudal; Costume Designer: Kym Barrett; Lighting Designed by: Michel Beaulieu; Video Designer: David Leclerc. Ariel: Audrey Elizabeth Luna, Miranda: Isabel Leonard, Trinculo: Iestyn Davies, Ferdinand: Alek Shrader, Caliban: Alan Oke, King of Naples: William Burden, Antonio: Toby Spence, Prospero: Simon Keenlyside.

Un Ballo in Maschera. November 8, 12, 15, 19, 24, 27, 30, December 4, 8m, 14. Conductor: Fabio Luisi; Production: David Alden; Set Designer: Paul Steinberg; Costume Designer: Brigitte Reiffenstuel; Lighting Designed by: Adam Silverman; Choreographer: Maxine Braham. Amelia: Karita Mattila, Oscar: Kathleen Kim, Ulrica: Dolora Zajick (Nov 8, 12, 15, 19, 24) / Stephanie Blythe (Nov 27, 30, Dec 4, 8, 14), Riccardo: Marcelo Álvarez (Nov 8, 12, 15, 19, 24, 30) / Roberto De Biasio (Nov 27), Renato: Dmitri Hvorostovsky.

Maria Stuarda. December 31, January 4, 8, 12, 15, 19m, 23, 26. Conductor: Maurizio Benini; Production: David McVicar; Set & Costume Designer: John Macfarlane; Lighting Designed by: Jennifer Tipton; Choreographer: Leah Hausman. Elisabetta: Elza van den Heever, Maria Sturada: Joyce DiDonato, Leicester: Francesco Meli, Cecil: Joshua Hopkins, Talbot: Matthew Rose

Rigoletto. January 28, 31, February 4, 8, 12, 16m, 19, 23, April 13, 16, 20, 24, 27, May 1. Conductor: Michele Mariotti (Jan, Feb) / Marco Armiliato (Apr, May); Production: Michael Mayer; Set Designer: Christine Jones; Costume Designer: Susan Hilferty; Lighting Designer: Kevin Adams; Choreographer: Steven Hoggett. Gilda: Diana Damrau (Jan, Feb) / Lisette Oropesa (Apr, May), Maddalena: Svetlana Volkova (Jan, Feb) / Nancy Fabiola Herrera (Apr, May), Duke of Mantua: Piotr Beczala (Jan, Feb) / Vittorio Grigolo (Apr, May), Rigoletto: Željko Lucic (Jan, Feb) / George Gagnidze (Apr, May), Sparafucile: Stefan Kocán (Jan, Feb) / Enrico Giuseppe Iori (Apr, May).

Parsifal. February 15, 18, 21, 27, March 2m, 5, 8. Conductor: Daniele Gatti; Production: François Girard; Set Designer: Michael Levine; Costume Designer: Thibault Vancraenenbroeck; Lighting Designer: David Finn; Video Designer: Peter Flaherty; Choreographer: Carolyn Choa; Dramaturg: Serge Lamothe. Kundry: Katarina Dalayman, Parsifal: Jonas Kaufmann, Amfortas: Peter Mattei, Klingsor: Evgeny Nikitin, Gurnemanz: René Pape.

Giulio Cesare. April 4, 9, 12, 19, 22, 27m, 30, May 3, 7, 10. Conductor: Harry Bicket; Production: David McVicar; Set Designer: Richard Jones; Costume Designer: Brigitte Reiffenstuel; Lighting Designer: Paule Constable; Choreographer: Andrew George. Cleopatra: Natalie Dessay, Sesto: Alice Coote, Cornelia: Patricia Bardon, Giulio Cesare: David Daniels, Tolomeo: Christophe Dumaux, Achilla: Guido Loconsolo.

Revivals:

Aida. November 23, 26, 29, December 3, 7, 12, 15m, 19, 22, 28, Conductor: Fabio Luisi, Aida: Liudmyla Monastyrska (Nov, Dec. 12, 15) / Hui He (Dec 3, 7, 19, 22, 28), Amneris: Olga Borodina, Radamès: Marco Berti (Nov, Dec 3, 7) / Roberto Alagna (Dec 12, 15, 19, 22, 28), Amonasro: Alberto Mastromarino (Nov, Dec 3, 7) / George Gagnidze (Dec 12, 15, 19, 22, 28), Ramfis: Stefan Kocán, The King: Miklós Sebestyén

Il Barbiere di Siviglia. December 18, 22m, 26m, 27, 29, January 3, 5, Conductor: Yves Abel, Rosina: Isabel Leonard, Count Almaviva: Alek Shrader, Figaro: Rodion Pogossov, Dr. Bartolo: John Del Carlo, Don Basilio: Jordan Bisch

Carmen. September 28, October 2, 6, 11, 15, 18, February 9, 13, 16, 20, 23m, 26, March 1, Conductor: Michele Mariotti, Micaëla: Kate Royal (Sep, Oct) / Ekaterina Sherbachenko (Feb 9, 13, 16, 20, 23, Mar) / Hei-Kyung Hong (Feb 26), Carmen: Anita Rachvelishvili, Don José: Yonghoon Lee (Sep, Oct) / Andrew Richards (Feb, Mar), Escamillo: Kyle Ketelsen (Sep, Oct 2, 6, 15) / Dwayne Croft (Oct 11) / Teddy Tahu Rhodes (Feb, Mar)

La Clemenza di Tito. November 16, 20, 24m, December 1m, 6, 10, Conductor: Harry Bicket, Servilia: Lucy Crowe, Vitellia: Barbara Frittoli, Sesto: Elina Garanca, Annio: Kate Lindsey, Tito: Giuseppe Filianoti, Publio: Oren Gradus

Le Comte Ory. January 17, 21, 25, 29, February 2m, 5, Conductor: Maurizio Benini, Countess Adèle: Nino Machaidze, Isolier: Karine Deshayes, Ragonde: Susanne Resmark, Count Ory: Juan Diego Flórez, Raimbaud: Nathan Gunn, The Tutor: Nicola Ulivieri

Les Dialogues des Carmélites. May 4m, 9, 11, Conductor: Louis Langrée, Blanche de la Force: Isabel Leonard, Mme Lidoine: Patricia Racette,Constance: Erin Morley, Mère Marie: Elizabeth Bishop, First Prioress: Felicity Palmer, Chevalier de la Force: Paul Appleby

Don Carlo.  February 22, 25, 28, March 6, 9m, 13, 16, Conductor: Lorin Maazel, Elisabeth de Valois: Sondra Radvanovsky, Eboli: Anna Smirnova, Don Carlo: Ramón Vargas, Rodrigo: Dmitri Hvorostovsky, Philip II: Ferruccio Furlanetto, Grand Inquisitor: Eric Halfvarson

Don Giovanni. November 28, December 1, 5, 8, 11, 15, 20, Conductor: Edward Gardner, Donna Anna: Susanna Phillips, Donna Elvira: Emma Bell, Zerlina: Ekaterina Siurina, Don Ottavio: Charles Castronovo, Don Giovanni: Ildar Abdrazakov, Leporello: Erwin Schrott, Masetto: David Soar, The Commendatore: Raymond Aceto

Faust. March 21, 25, 28, April 2, 5, Conductor: Alain Altinoglu, Marguerite: Marina Poplavskaya, Siébel: Julie Boulianne, Faust: Piotr Beczala, Valentin: Alexey Markov, Méphistophélès: John Relyea.

Francesca di Rimini. March 4, 9, 12, 16m, 19, 22, Conductor: Marco Armiliato, Francesca: Eva Maria Westbroek, Paolo ilBello: Marcello Giordani, Malatestino: Robert Brubaker, Gianciotto: Mark Delavan.

Götterdämmerung. April 23, May 2, 11m, Conductor: Fabio Luisi, Brünnhilde: Deborah Voigt (Apr 23, May 11) / Katarina Dalayman (May 2), Gutrune: Wendy Bryn Harmer, Waltraute: Karen Cargill, Siegfried: Jay Hunter Morris (Apr 23, May 2) / Lars Cleveman (May 11), Gunther: Iain Paterson, Alberich: Eric Owens (Apr 23, May 2) / Richard Paul Fink (May 11), Hagen: Hans-Peter König

Le Nozze di Figaro. October 29, November 3, 7, 10, 13, 17, Conductor: David Robertson, Countess Almaviva: Maija Kovalevska (Oct, Nov 3, 7, 10, 13) / Hei-Kyung Hong (Nov 17), Susanna: Mojca Erdmann, Cherubino: Christine Schäfer, Count Almaviva: Gerald Finley, Figaro: Ildar Abdrazakov

Otello. October 9, 13, 16, 20m, 27m, March 11, 15, 20, 23, 27, 30, Conductor: Semyon Bychkov (Oct) / Plácido Domingo (Mar), Desdemona: Renée Fleming (Oct) / Krassimira Stoyanova (Mar), Otello: Johan Botha (Oct) / José Cura (Mar), Cassio: Michael Fabiano (Oct) / Alexey Dolgov (Mar), Iago: Falk Struckmann (Oct) / Thomas Hampson (Mar)

Das Rheingold. April 6m, 25, May 4, Conductor: Fabio Luisi, Freia: Wendy Bryn Harmer, Fricka: Stephanie Blythe, Erda: Meredith Arwady, Loge: Stefan Margita, Mime: Gerhard Siegel (Apr) / Robert Brubaker (May), Wotan: Mark Delavan (Apr) / Greer Grimsley (May), Alberich: Eric Owens (Apr) / Richard Paul Fink (May), Fasolt: Franz-Josef Selig, Fafner: Hans-Peter König.

Siegfried. April 20m, 29, May 8, Conductor: Fabio Luisi, Brünnhilde: Deborah Voigt (Apr 20, May / Katarina Dalayman (April 29), Erda: Meredith Arwady, Siegfried: Jay Hunter Morris (Apr) / Lars Cleveman (May), Mime: Gerhard Siegel (Apr) / Robert Brubaker (May), Wanderer: Mark Delavan (Apr) / Greer Grimsley (May), Alberich: Eric Owens (Apr) / Richard Paul Fink (May).

La Traviata. March 14, 18, 23m, 26, 30m, April 2, 6, Conductor: Yannick Nézet-Séguin, Violetta Valéry: Diana Damrau, Alfredo Germont: Saimir Pirgu, Giorgio Germont: Plácido Domingo

Il Trovatore. September 29m, October 4, 8, 12, 17, 20, 25, January 9, 12m, 16, 19, 24, Conductor: Daniele Callegari, Leonora: Carmen Giannattasio (Sep 29, Oct. 4) / Sondra Radvanovsky (Oct 12, 17, 20, 25) / Patricia Racette (Jan 9, 12, 19, 24) / Angela Meade (Jan 16), Azucena: Dolora Zajick (Sep, Oct) / Stephanie Blythe (Jan), Manrico: TBA (Sep, Oct) / Marco Berti (Jan), di Luna: Franco Vassallo (Sep 29, Oct 4, 8, 12, 20) / Ángel Ordeña (Oct 17) / Alexey Markov (Jan), Ferrando: Morris Robinson (Sep, Oct) / Christophoros Stamboglis (Jan)

Les Troyens. December 13, 17, 21, 26, 29m, January 1, 5m, Conductor: Fabio Luisi, Cassandra: Deborah Voigt, Dido: Susan Graham, Anna: Karen Cargill, Aeneas: Marcello Giordani, Iopas: Eric Cutler, Chorèbe: Dwayne Croft, Narbal: Kwangchul Youn

Turandot. September 26, 29, October 3, 6m, 30, November 2, 5, 9, January 2, 7, 10, Conductor: Dan Ettinger, Turandot: Maria Guleghina (Sep, Oct 3, 6) / Iréne Theorin (Oct 30, Nov, Jan), Liù: Hibla Gerzmava (Sep, Oct 3, 6) / Takesha Meshé Kizart (Oct 30, Nov) / Hibla Gerzmava (Jan), Calaf: Marco Berti (Sep, Oct 3, 6) / Marcello Giordani (Oct 30, Nov) / Walter Fraccaro (Jan), Timur: James Morris (Sep, Oct, Nov) / Samuel Ramey (Jan)

Die Walküre. April 13m, 26, May 6, Conductor: Fabio Luisi, Brünnhilde: Deborah Voigt (Apr 13, May) / Katarina Dalayman (Apr 26), Sieglinde: Martina Serafin, Fricka: Stephanie Blythe, Siegmund: Simon O’Neill, Wotan: Mark Delavan / Greer Grimsley (May), Hunding: Hans-Peter König.

163 comments

  • Henry Holland says:

    The New York Philharmonic has announced their 2012/13 season:

    http://nyphil.org/buy/subscribe/seasonHighlights.cfm

    It’s even more boring than the Met’s! A Brahms symphony/concerto cycle? Really? Isn’t every season by the major orchestras nearly a Brhams symphony/concerto cycle?

    The Contact! new music series is just sad, why even bother?

    I’d love to have attended the meetings where this program was decided on:

    Emmanuel Ax, Alan Gilbert

    Bach: Keyboard Suite in D
    Schoenberg: Piano Concerto
    Mozart: Symphony #36 “Linz”

    Apart from the bald-faced cynicism of slotting the knotty Schoenberg piece in amongst easier works to sell, what’s the *musical* justification? If Mr. Ax wants to play the Schoenberg, why not surround it with Bartok or early Prokofiev or similar stuff? Here’s another head-scratcher:

    David Robertson, Pierre-Laurent Aimard

    Messiaen: Les offrandes oubliées
    Mozart: Piano Concerto #23
    Murail: Piano Concerto
    Beethoven: Symphony No. 2

    Fine, program Beethoven and Mozart so people don’t flee (or not show up in the first place is more like it) but again, really?

    I’ve suddenly gained a new appreciation of what a decent job the Los Angeles Philharmonic does in their programming.

    • m. croche says:

      Apart from the bald-faced cynicism of slotting the knotty Schoenberg piece in amongst easier works to sell, what’s the *musical* justification?

      I’m pretty sure Schoenberg would have been quite pleased to have his piano concerto sandwiched between Bach and Mozart, much more so than in between Bartók and Prokofiev. And the piano concerto is one of Schoenberg’s friendliest later works -- with a graceful opening theme and musical development that follows (for him) relatively clear contours.

    • ianw2 says:

      I think you’re being hyper-sensitive here HH. The advantage of placing the Schoenberg (or the Murail) amongst Bach Mozart Beethoven is it prevents a ghetto attitude forming towards ‘difficult’ works. A concert of nothing but Schoenberg and Murail may thrill many of us, but also comes with the attitude that these tricky pieces are box-ticking and need to be kept separate from the Romantics so as not to frighten the horses.

      Mixing the program up with the more familiar canon is a pretty strong statement that they, too, are part of classical music’s heritage and not just being programmed because ‘they’re good for you, so eat your Murail brussels sprouts and then there’s a lovely Beethoven sundae as your reward’.

      I’m not familiar with the Murail, so I can’t speak to what artistic reasoning may be behind pairing it with Beethoven 2. But I think you’re being very quick to call cynicism.

      • Henry Holland says:

        I’m pretty sure Schoenberg would have been quite pleased to have his piano concerto sandwiched between Bach and Mozart, much more so than in between Bartók and Prokofiev

        Oh sure, he’d have been all Cody Jarrett:

        with a graceful opening theme and musical development that follows (for him) relatively clear contours

        The key to that thought being (for him), of course. The one time I heard the piece live, 1/3 of the audience walked out (it was done before the break, there was Beethoven’s 7th after), even while the music played, so my cynicism in regards to this piece is borne of (an admittedly one time) experience.

        I think you’re being hyper-sensitive here HH

        Nope, just my impressions after 37 years of going to concerts all over the US and England (Germany and France are different beasts altogether).

        The advantage of placing the Schoenberg (or the Murail) amongst Bach Mozart Beethoven is it prevents a ghetto attitude forming towards ‘difficult’ works

        It does no such thing. I have a bad habit of eavesdropping on people as they walk out of concerts, and I guarantee you, a good % of the time, the audience *resents* having their lovely Bach and Mozart spoiled with that nasty, doesn’t-have-catchy-tunes modern music and why do they have to play it anyway, no one likes it, right?

        A concert of nothing but Schoenberg and Murail may thrill many of us, but also comes with the attitude that these tricky pieces are box-ticking

        Because that’s exactly what they are most of the time or, in this case, probably a piece that a particular artist (Mr. Ax) might want to play. How many symphony schedules over the years have you seen where the sole “new music” is a few 10-minute or less curtain raisers, played before crowd pleasers?

        Then there was the ludicrous situation a few years ago where the Los Angeles Philharmonic made a big deal about “10 new pieces! World premieres! See, we’re not stodgy and dead like the other orchestras!!!!” during their season announcement. Turns out, 7 of them were short pieces by unknown composers, shunted off to a single concert in the Green Umbrella “new music” series.

        Cynical? Damn right I am.

        need to be kept separate from the Romantics so as not to frighten the horses

        Bach and Mozart are now Romantics? That’d be news to most musical dictionary writers. JK, I know what you meant.

        Mixing the program up with the more familiar canon is a pretty strong statement that they, too, are part of classical music’s heritage

        Do you really care about “statements”? The LSO is making a “statement” in 2012/13, they’re having a Szymanowski festival. Yeah! love his music, the symphonies and violin concertos are incredible, that would be something to travel for, I should…..oh wait…..they’re pairing his pieces with *shudder* Brahms *shudder* WHY? Why not Szymanowski’s influences like Strauss, early Bartok, Scriabin, Debussy, Ravel, Rimsky etc.? No, it’s effing Brahms.

        and not just being programmed because ‘they’re good for you, so eat your Murail brussels sprouts and then there’s a lovely Beethoven sundae as your reward’

        No, it’s even lamer, it’s a marketing department dream: see! there’s connections (a favorite buzzword) between Mozart and Murail’s piano concertos!!! I know Murail’s music really well, how he writes for piano and except for the fact that they both use some notes in common --unless Mozart was experimenting with 1/4 and 1/8 and 1/16th tones and electronics 150 years before Murail was-- and are tenuously part of the same tradition, they have nothing much in common.

        I’m not familiar with the Murail, so I can’t speak to what artistic reasoning may be behind pairing it with Beethoven 2. But I think you’re being very quick to call cynicism

        Jeebus, how can I NOT be cynical at this point? I’ve seen mass exoduses of audiences before a non-tonal piece is played as long as the Mozart/Haydn/Beethoven/Brahms in the second half carrot is waved around, I’ve heard non-tonal pieces be greeted with almost total silence after they are performed (you want embarrassing? How about having the composer come out after his piece was greeted like that), I’ve had to defend tame stuff like The Miraculous Mandarin against really, REALLY angry patrons who bitterly resented having to listen to it etc.

        I’m tired of the fight, it’s futile, I’m all for segregation in this case. Treat non-tonal music like organ recitals, choral music, chamber music: a niche to be filled. Here’s how you schedule Murail’s Piano Concerto (this is the world premiere performance):

        May 4, 2012, Bavarian Radio SO

        György Ligeti: Lontano
        Tristan Murail: Neue werke für Klavier und Orchester
        Olivier Messiaen: Réveil des oiseaux
        George Benjamin: Palimpsests

        Symphonieorchester des Bayerischen Rundfunks
        Klavier: Pierre-Laurent Aimard
        Dirigent: George Benjamin

        • Henry Holland says:

          Jeebus, how can I NOT be cynical at this point?

          Sorry, that should read “Jeebus, how can I NOT be cynical about their cynicism at this point?”.

        • m. croche says:

          Well, HH, your original post complained about a lack of musical connection between Mozart/Bach and Schoenberg’s piano concerto, which pretty much flies in the face of how musicians (and others) think about Schoenberg’s neo-classicizing twelve-tone music. The piano concerto is precisely the sort of work Boulez would have had in mind when he criticized Schoenberg as being “Brahms with the wrong notes.”

          And I really don’t see any reason to get huffy about mixing Murail with Mozart. Perhaps some blue-hairs will throw a fit, but blue-hairs have been throwing fits ever since hair started blue (and even a bit before). I think this is a non-controversy.

          • Henry Holland says:

            m. croche, point taken about the Schoenberg; I lose interest in his music (except the operas) after Pierrot Lunaire, I don’t really know the stuff after his 7 year break and until his death all that well. Time to dig out a recording of the piano concerto……

            And I really don’t see any reason to get huffy about mixing Murail with Mozart

            I’ll let Mark Berry from London address what I was getting at via a different program with a similar “problem”.

            http://boulezian.blogspot.com/2012/02/belllpojurowski-mozart-brahms-zemlinsky.html

            Royal Festival Hall
            Mozart – Symphony no.32, KV 318
            Brahms – Violin Concerto in D major, op.77
            [intermission]
            Zemlinsky – Psalm no.23, op.14
            Szymanowski – Symphony no.3, ‘The Song of the Night’

            London Philharmonic Orchestra, soloists
            Vladimir Jurowski (conductor)

            A peculiar programme, this, in which it was difficult to discern much of a connection between the first and second halves. But there was much to enjoy, and only one work – or rather, part of one work – proved a little disappointing. Saddeningly if predictably, audience acclaim tended to be in inverse proportion to the success of the performance; indeed, quite a few audience members did not even bother to stay for the second half.

            Know that scenario well.

          • m. croche says:

            “Time to dig out a recording of the piano concerto……”

            Allow me. In an interview put online by the Schoenberg center in Vienna, noted Mozartian Mitsuko Uchida called the Schoenberg piano concerto “a combination of Haydn and late Brahms. A standard classical concerto.”

          • Henry Holland says:

            Allow me

            Thanks so much for the clips, my CD collection is a mess and I couldn’t find the CD I have of the piece. I haven’t listened to the piece in years and it’s not at all how I remembered it, which was Erwartung for the piano. There’s almost even a couple of tunes! Ms. Uchida’s comment you quoted is quite apt.

            She’s also a fabulous player, playing it without a score, wow. I love that sharp exhalation of breath after the piece has finished!

            Again, thanks for the clips.

    • messa di voce says:

      So you don’t want old music (Brahms) and you don’t want new music (Murail). So, I guess you just want no music. Or do you just want to whine?

  • sterlingkay says:

    Interesting that the press emphasis is on the Vegas RIGOLETTO. The NY Times headline: “What happens in Vegas will happen at the Met next season”. NY Daily News: “Verdi goes to Vegas”.

    There’s also an AP article about the cancellation of the Bondy production. It was a horrible production and I’m glad Gelb cancelled it. It just so “blah” and middle of the road. Maybe the Vegas thing will be awful but at least it sounds interesting and it will sell tickets:

    http://www.cbsatlanta.com/story/17006255/met-abandons-bondy-rigoletto-for-vegas-version

    • grimoaldo says:

      Thank you for posting the article. Quote from it “In Mayer’s mind, the Duke is akin to Frank Sinatra, surrounded by Sammy Davis Jr. and Jackie Gleason -- although not literally those stars.”

      I think that’s mean and sort of Baptist belt puritanical.The King in Hugo’s Le Roi S’Amuse, the Duke in Rigoletto were rulers of their countries -- they ran them, they had absolute power, they were supposed to, you know, look after their country and their people, not just go to parties, get drunk and sleep around. Poor old Jackie Gleason or Frank Sinatra had no responsibility except to be funny and sing nicely and besides they could hardly order someone who offended them to be bumped off without trial, could they?
      Oh well, what does it matter………

      • davemaschine says:

        I think the AP article, unbiased, just in effect reported what Michael Mayer may have in mind. We’re talking about Thoroughly Modern Millie, somebody who has picked up a check from Dream Works before. The only explanation however for Luc Bondy commenting that he finds the choice of Mayer to replace him as daring is just to be obsequious. A number of things, he should recall, register just fine in the Tosca when seen from Munich (and thanks also to more capable podium from Luisi than from Colaneri and also better male leads as well) while they misfired at the Met.

        If anything the new Mayer production looks perhaps Baptist Belt glee club pageant ‘look at me, I am in your face’ teeny-bop or twenty-something geek prude. ‘What brand of underwear do you like to wear? I prefer Tommy Hilfiger’s.’ Have not people in theater, opera never heard of right-wing co-opt of radical theatrical tendencies? Some producers that work in opera actually have some intellectual background, some ability to think, some potential to infuse their productions with the fiber, the conviction to make their interpretations actually say something, even perhaps something to challenge who sees their productions. Danmrau and Lucic, signed up when they thought they were cast in a Luc Bondy production, are now cast in this instead -- and also play two of the leads on Lehnhoff/Dresden dvd I own of Rigoletto Luisi conducts.

        With so much in our political news media about being ‘homophobe’ anymore, what could be more effective perhaps in making gays look like a bunch of mindless geeks than this crap -- or more perfectly right-wing co-opt ‘homophobe’ than this? I say this, in mind of the other new Verdi production this coming season being by David Alden. I also envision a little potential for intimidation as well.

        When I go see Ballo next season, I want, fully solicit the unvarnished truth as to what David Alden wants to put up on his stage, nothing less, nothing more. No ‘well, we got rid of Bondy’ attitude, one supposes for not being malleable. Even though Verdi had to answer to censors when he wrote Rigoletto and Ballo, the music, thrust provided thereof, was as fresh as a new David Alden production thereof of either work should be anticipated being today -- without help from Gelb, committee, anybody who David might not have brought upon board himself.

        Anyone have any idea what the Parsifal should be like? Does Francois Girard have the acumen toward providing some unified vision for this piece, comparable let’s say to the Kupfer or Lehnhoff productions any of us may know on dvd -- or comparable to now the posthumous Wernicke Frau ohne schatten revival we should expect (Jurowski conducting) in 2013-14?

  • Baritenor says:

    Is Nathan Gunn seriously singing only Raimbaud in Ory next season? That’s it?

    Maybe he’s headed down the Dwayne Croft path sooner than I expected…

    • Indiana Loiterer III says:

      Well, there aren’t a lot of opportunities for lyric barihunks at the Met next season--and it’s such a desperately overcrowded Fach anyway…Gunn at least has a teaching career to keep him busy.

  • La Valkyrietta says:

    Young Harry Truman used to say he thought Richard Wagner was in cahoots with Pluto :) . It would seem rather those in charge of productions at the Met lately are. I hope there will be no machines in Parsifal drowning out Kaufmann’s singing.

  • zinka says:

    Great Season!!! Where is Kurt Baum when we need him??

    They have some nerve!!!!

    and when La Cieca told me that Piotr as the Duke is Frank Sinatra in the new production…I wrote him to ask him if he has blue eyes……Who is Gilda…Ava Gardner???????

    No casts in the subscription list….but well…….I will get the brochure soon…….

    I am going for TENORS mostly……..

  • zinka says:

    Great Season!!! Where is Kurt Baum when we need him??

    They have some nerve!!!!

    and when La Cieca told me that Piotr as the Duke is Frank Sinatra in the new production…I wrote him to ask him if he has blue eyes……Who is Gilda…Ava Gardner???????

    No casts in the subscription list….but well…….I will get the brochure soon…….

    I am going for TENORS mostly……..

  • Noel Dahling says:

    Was I the only one blind-sided by the news of a Domingo Germont? I know he’s been doing baritone roles but I was still surprised. Alvarez looks sexy in that Ballo photo. Reminds me of a men at play model. I know we’ve all seen that old Aida production enough,but Monastyrska sounds like a spinto to watch.

    • Bianca Castafiore says:

      I don’t know what photo you’re looking at, but Alvarez sexy? Have you seen him lately?????

      • brooklynpunk says:

        Dearest Bianca:

        Contrary to many Parterrians tastes.. NOT EVERYONE IS as “wowed” by maestro Wenarto’s type-casting… and some (me…?) might actually find Alverez more their cuppa…

        LOL…!

    • peter says:

      I was blind sided by th

      • peter says:

        oops. I was blind sided by the whole season. The whole thing seems like some sort of April Fool’s joke.

  • Bianca Castafiore says:

    Anyone watching the DG on tv now? I saw this in the house as well, I just love Rebeka. The voice is so bright, but substantial, not those thin toned voices. I’d love to hear her sing Norma or the Trov Leonora one day. Also saw her in Moïse at Carnegie and she was the best thing all night.

  • Signor Bruschino says:

    It may be just me, but things feel very rudderless at the MET- in past Gelb season announcements, they would talk about following seasons, etc- The only real idea of anything in future seasons is the Muhly piece in fall ’13, and Roberto Devereux in an ‘upcoming season’-

    It goes beyond ‘blah’- the whole press release without a press conference thing has an air of giving up-

    • messa di voce says:

      It is just you.

      The on-line brochure with videos is creating a lot of talk, and there’s already a lot of print coverage.