Cher Public

  • Camille: Oh thank you and bless you, bewildered, for that bit. I pine for your glory days and miss you so. 4:05 PM
  • Camille: It’s the New Yawk version…ostensibly the “ViEnna Version” (see, La Cieca, I got it right at last!). I brought... 4:03 PM
  • Evenhanded: Well. “Casually referring to a woman as ‘this Bitch’, however- I’d be ashamed of that.” As would I, Armer. Thank... 3:57 PM
  • armerjacquino: I agree, giving one’s all in performance can never be a source of shame. Casually referring to a woman as ‘this... 3:51 PM
  • Feldmarschallin: Lovely costumes. Cosima would have approved. 3:48 PM
  • Dabrowski: First, the obvious question: Is this Paris or Dresden? Another question, for those of you who understand singing better than I... 3:43 PM
  • La Cieca: And more to the point, which part of Venus. 3:37 PM
  • bewilbered: Elisabeth cover is the Romanian Iulia Isaev, who has sung the role (as well as Elsa) for Bucharest. 3:32 PM

Pain and suffering

A woman unhappy with the Bolshoi Opera’s controversial staging of Ruslan and Ludmila was denied a one million ruble compensation bid by Moscow’s Tverskoi court on Monday. Muscovite Svetlana Voronina demanded a million rubles and a ticket to a traditional staging of the opera in compensation “for the moral agony experienced when watching the performance.” [The Moscow Times]


  • papopera says:

    Bravo! there should be more Voroninas around protesting against the bullshit that is served to us by those omnicient directors.

    • Mrs Rance says:

      Yes indeed, and I’ve always thought these kind of productions should be billed as “Willy Decker’s La Traviata” and “Des McAnuff’s Faust” etc.
      At least “George Balanchine’s The Nutcracker” is pretty much what its creator intended.

      • armerjacquino says:

        Oh, this tedious argument again. Neither the TRAV nor the FAUST changed any of the music- they presented Verdi’s and Gounod’s opera respectively. Neither production even changes the story, particularly. The TRAV in particular is totally faithful to the plot as outlined in the libretto. If it were on a more conventional set it would be utterly uncontroversial.

        And how clever of you to know what the composer intended! We know what Verdi intended in the 1850s. Nobody can say with any authority at all how he would have wanted his opera presented in 2012 (although my guess is that such a consummate man of the theatre would have been baffled at the idea that it should be preserved as a museum piece and ignore the intervening 160 years).

      • La Cieca says:

        Decker and McAnuff both have their names on the productions; what’s more, the Met (and co-producing companies) released in advance photographs, renderings and descriptions of the productions. For example, more than two months before Faust opened at the Met, the New York Post published this:

        McAnuff, who also mounted Berg’s “Wozzeck” for the Santa Fe Opera, is updating the story to the 20th century, inspired by the life of mathematician Jacob Bronowski, who witnessed the horrors of Auschwitz and Hiroshima and afterward devoted himself to the study of anthropology.

        In this “Faust,” the hero is an atomic scientist who escapes the horrors he sees by going back to his youth, circa 1900. McAnuff calls this “one of the primal fantasies of all people: If I could only go back, if I could recapture my innocence, jettison the cynicism I have built up over the years.”

        How much more label warning do you need?

  • Clita del Toro says:

    I want my money back from Sirius and $100,000,00 in cash for the nausea that Reneigh has caused me over the years. I might also sue SONY and PBS for her telecasts as well.
    I want to sue the Met for allowing Nada and Giordani to driving me up a wall.

  • oedipe says:

    I find it ironic (and pause giving) that these days one is more likely to see a controversial production at the Bolshoi than at the Met…

  • Clita del Toro says:

    OT: LOL Funny review from opera-l crazy, Walter Guitan: Alagna and Gheorghiu concert at Teatro Colon: Duets and arias from Adriana, Tosca. La Wally:

    This is the first time we listen the tenor and the soprano. We are all shocked and we cannot beleive the lie and the fraud that is Angela Gheorghiù . One can say it was a concert by students, that Gheorghiù voice is very ordinary which has no sound, etc but no history of a famous soprano who have no voice. We attended a trade show of the silent at the Colon
    Angela Gheorghiù is a soubrette the only thing she can sing (with a voice like hers) soubrette roles are over with a voice of crap.
    He was noticeable better but overall it was a shame and a scam and insulting to the opera.


    • Krunoslav says:

      I remain convinced that the fire-spitting Senor Guitan is a brilliant invention of Manuel Puig.

      For him, the ONLY soprano is Tebaldi — well, maybe Hina Spani existed before her, but that’s about it.