Cher Public

  • Cicciabella: You’re welcome, armer! The heat is boiling my brain, and I forgot to mention the level-headed Brit by name: Mark... 7:37 AM
  • armerjacquino: But not all Brits agree *crying with relief* I’ve been waiting ten years for someone to say that on here. THANK you,... 6:55 AM
  • Cicciabella: Context for above posts: ENO’s Queen of Spades, avaiable on BBC iPlayer and elsewhere discussed by manou et al. 6:20 AM
  • Cicciabella: But not all Brits agree. After singling out Felicity Palmer’s Countess (powerful even via radio), he praises thr... 6:01 AM
  • Cicciabella: Guess who: “There was nothing much wrong with Nicholas Pallesen’s Yeletsky or Gregory Dahl’s Tomsky either, but I can... 5:45 AM
  • Cicciabella: Placido demands respect while promoting Operalia: http://www.theguar dian.com/music/201 5/jul/04/placido-d omingo-opera-ra... 4:48 AM
  • Cicciabella: Orchestra and chorus indeed sounded wonderful yesterday on the radio. It’s still available on BBC Opera on 3. What a... 4:46 AM
  • Henry Holland: Some Alice related pieces, starting with Unsuk Chin’s Alice in Wonderland: httpv://www.youtub e.com/watch?v=S... 2:52 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. ;)