Cher Public

  • Camille: Jungfer, are you listening? How does the orchestral sound mit Mo. Janowski stack up to your past experiences in vivo? 2:36 PM
  • LT: L’aria della piovra httpv://www.youtub e.com/watch?v=KLHZ rqPDGmA 1:31 PM
  • sogalitno: dont know if there is a way. i think sky is via cable so would probably need account info . 1:03 PM
  • Camille: I’m so glad they changed the Wotan from Rheingold and Sarah Connolly sounds REALLY good as the Walküre Fricka! Heidi... 12:28 PM
  • Camille: Merci, Hippolyte! I had forgotten all about the August 5th concert. A chance to hear not only Loreley but the weird Nerone! Once... 12:22 PM
  • Hippolyte: Russell Thomas is appearing next month in two very interesting concerts as part of the Puccini festival at Bard. August 5... 12:09 PM
  • Camille: And as a lieder recitalist, just exemplary httpv://youtube.co m/watch?v=lETGe_4B U2E httpv://youtube.co m/watch?v=PGJhNfVg UVk... 12:06 PM
  • brackweaver: I agree with both of you about the singing of the ladies. It made me give up at intermission. 12:01 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

  • 21
    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/

    • 21.1
      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”)?

      • 21.1.1
        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.

        • 21.1.1.1
          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. ;)