Cher Public

  • armerjacquino: Sigh. And once again, the daily OT thread, RIGHT UNDER THIS ONE, wonders what it did wrong. 6:01 AM
  • NPW-Paris: My apologies if this is a “repeat̶ 1; : http://www.concert classic.com/video/ le-trouvere-de-ver di-la-bastille-... 4:45 AM
  • la vociaccia: It’s a great voice no doubt but a bit too cloudy in the vowels (especially the the French) for me to invite... 3:24 AM
  • la vociaccia: It’s not a massively complex or uncommon phenomenon; she produces her current sound by driving her voice at full force... 3:16 AM
  • Tamerlano: Angie was a fucking pig. My god, she just tore those arias to shreds…jerky tempo changes and overly precious... 2:39 AM
  • overstimmelated: I notice that the opening performances of Boccanegra and Entführung are far from sold out. I found myself wondering if... 2:35 AM
  • Tamerlano: Sierra fascinates me. She reminds of me Moffo in the way that the voice is fucking gorgeous and there is incredible instinctual... 2:27 AM
  • Flora del Rio Grande: I, too, wish Mme Goerke well — she deserves success after a lot of hard work. But I am not buying her top... 1:18 AM

Damage control

Just in time for the beginning of the first cycle of the Robert Lepage Ring (pictured), Peter Gelb tries to convince Anthony Tommasini that everything is just fine, thank you, and the future… well, the future is going to be glorious indeed! [New York Times]

177 comments

  • The Wistful Pelleastrian says:

    Has the much-celebrated Robert Lepage finally jumped the shark? It’s a question raised by the acidic reviews that have greeted the Canadian theatrical icon’s staging of Wagner’s cycle of four epic operas, Der Ring des Nibelungen, now at New York’s Metropolitan Opera. The ensuing controversy is generating wider ripples of concern – about both the creative health of one of America’s leading cultural institutions and, in the teeth of a deep recession, the potfuls of money spent on what some regard as high-brow entertainments.

    One musicologist even sees it as symptomatic of contemporary’s opera’s identity crisis – the conflict between its elitist roots and its increasing need (and attempt) to appeal to mass audiences.

    http://www.theglobeandmail.com/news/arts/theatre/robert-lepages-the-ring-draws-fire-in-new-york/article2394232/

    • whatever says:

      WP: (hope you don’t think i’m stalking you from thread to thread just to pick a fight … quite the opposite in fact — the opening line in the quote you’ve provided just as easily could have been used in response to my comment about gotter-d’s exploding heads!!!)

      This sentence strikes me as dubious for two reasons:

      One musicologist even sees it as symptomatic of contemporary’s opera’s identity crisis – the conflict between its elitist roots and its increasing need (and attempt) to appeal to mass audiences.

      (1) people way smarter than me on this blog have pointed out on numerous occasions that operas roots weren’t necessarily all that elitist (or at least not always all that elitist).

      (2) similarly, is the need to appeal to “mass audiences” (whatever they are) really all that new (as th musicologist seems to imply with his use of “increasing”)?

      • The Wistful Pelleastrian says:

        Hi whatever: Yes I acknowledged your original points in the other thread! My last post was just a ‘quote of the day’ to garner discussion; it was not a direct response to you.

        Cheers.

        • whatever says:

          great … there’s enough people i really AM stalking that i simply don’t have any room on my list for new entrants at the moment. ;)