Headshot of La Cieca

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  • Quanto Painy Fakor: Interesting interview with LA Opera Christopher Koelsch in FORTUNE Magazine. He has a... 11:51 AM
  • DeepSouthSenior: Nor the utter, forsaken desolation of the end of Michael Corleone, as great an operatic... 11:35 AM
  • Milady DeWinter: P.S. Sorry about the repetitive adverb usage – guess my ‘mot du jour’ is... 10:55 AM
  • Quanto Painy Fakor: But I don’t think the NYT cares much what Santuzza has to say or sing about. 10:52 AM
  • Quanto Painy Fakor: JJ’s review is admirable and enjoyable to read. Now that the NYT has made heads... 10:51 AM
  • Milady DeWinter: Anyone listen or attend last night’s opening of Hansel and Gretel? I listened via... 10:38 AM
  • tatiana: Nor the messy and bullet-ridden end of Sonny Corleone! 10:32 AM
  • DeepSouthSenior: Tenor Fabiano “is a tall, slim young man with the sort of brooding good looks you’d... 10:09 AM
  • kennedet: Agreed. Also, all praises due to Christopher Macatsoris of AVA,who had training from Serafin, Cleva... 9:53 AM
  • pasavant: Thanks for the help. I see that Mr. Costello is scheduled to sing in Traviata on December 27th. In... 8:34 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. ;)