Cher Public

  • Buster: I had planned to see this in Cologne in December, but because of the problems there, it apparently has now been postponed. Too... 4:14 AM
  • Tamerlano: My god that trio was visually stunning and what glorious music that is…it did almost unravel musically which makes me... 3:36 AM
  • zinka: Regina Resnik was born on Aug.30, 1922. She became one of the greatest artists in the world of opera. As soprano/mezzo in a... 12:50 AM
  • Krunoslav: ‘And if the Met does Parsifal as scheduled in 2018, wouldn’t Goerke or maybe Nina Stemme be the only viable options at... 10:45 PM
  • Jungfer Marianne Leitmetzerin: I was at the third performance. Fucking brilliant production, if a bit wobbly vocally. (Volle totally blew... 10:44 PM
  • zinka: What went wrong? Didn’t Beverly Sills once say that she would rather have 5 years of Callas than 25 of her? Well, I do agree... 10:36 PM
  • Signor Bruschino: Just finished the Antonia act & its fucking brilliant. Thank you La Cieca… Really a sin that NYC has not... 8:41 PM
  • La Cieca: I’m worried that Matthews is heading the same way as Emma Bell To ruin three seasons of Mozart revivals at the Met? 7:42 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.