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The Met: A Three-Part Series

Cher Public

  • Camille: Thanks. It has been continual for two days now 10:25 PM
  • Carlo: Nabucco in Baltimore is available on Goldstar for about half-price. 10:16 PM
  • JackJack: “But it’s not surprising that with McCormack eventually became an exclusive recitalist,... 10:05 PM
  • zinka: Yes..they were among the worst..along with Mario Ortica and Primo Zambruno..plus Giulio Gari..we had... 8:30 PM
  • Jungfer Marianne Leitmetzerin: No, Regina: Nuotio and Parley sang only Wagner roles at the Met, but... 8:02 PM
  • Milady DeWinter: “A hearty thanks to Coloraturafan̶ 1; for including O’Flynn̵ 7;s Elvira-... 7:55 PM
  • Milady DeWinter: Oh for sure, almavivante – that aria is sort of the “Il balen” of the... 7:52 PM
  • Regina delle fate: Scotto was mercilessly booed as Norma at the Met, I recall….. 6:36 PM
  • Regina delle fate: Didn’t she just have a success at the Met as Musetta, Grim? THat’s what we... 6:35 PM
  • Regina delle fate: Ticho Parly and Pekka Nuotio sang Pinkerton at the Met? 6:33 PM

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. ;)