Cher Public

  • mercadante: Watched clips on YouTube. Sierra and Bezcala sound great on them, presumably the dress rehearsal. With modern productions I... 2:54 PM
  • overstimmelated: Not that it matters, but what was it, though? It came through on the Sirius broadcast and I assumed it was a transmission... 1:38 PM
  • La Cieca: Maybe they should have sent flowers to your home the next day with a warm note of condolence. 12:57 PM
  • kashania: Well put, Porgy. 12:50 PM
  • La Valkyrietta: Sorry, La Cieca. I should also have said I loved the evening and the review above, of corse, and Mattei was divine, I... 12:49 PM
  • La Cieca: Yeah, the Met should really reconsider their voluntary decision to create that noise deliberately, given that it annoys you and... 12:03 PM
  • kashania: Wonderfully detailed review, John. Thanks! 11:56 AM
  • La Valkyrietta: Hated the long hiss in the second scene of the first act when first they mention Elizabeth. A lady near me thought it was... 11:56 AM

Just one look

Which VIP at the Met’s opening night barely lasted through Belcore’s entrance aria before hustling out the door and leaving a gaping lacuna in the guest seating chart?


  • Will says:

    When lady Bird was at the MET, there is a famous photo or her landing on the floor after standing to wave to the crowd because Mr. Bing pulled her chair back at exactly the wrong moment.

    Bobby Kennedy was at the opening of the new house in 1966 — I remember seeing him interviewed on the Grand Tier, public area.

  • Krunoslav says:

    Lady Bird Johnson-- who did a lot of leg work in the South to promote the Civil Rights legislation-- came back for the opening of the Met’s 1969 TROVATORE with Price and Bumbry. After Bumbry’s Act Two she turned to Bing and said something like, “She should sound very good in the last act in “Home to our Mountains”. Bing and his aides were flabbergasted that a First Lady actually knew the music to the opera being performed.

    • beauj1 says:

      The Johnsons were great for Civil Rights (in the U.S. lol). LBJ gave Mary Violet Leontyne the Medal of Freedom -- a great act to support Civil Rights and the arts.

  • redbear says:

    I was at the Salome at Kennedy Center when Jimmy Carter attended. Next day’s headline: “First Baptist witnesses beheading of First Baptist.”

    • Bill says:

      That Salome was when the Vienna Opera made a
      Gastspiel in Washington -- the Salome was
      Leonie Rysenek -- believe Carter went back stage
      to meet the singers as there were some photos at
      the time of Carter with some members of the cast.

  • efrayer says:

    A bit off topic--at the Met tonight for Turondot. 55 minute first act intermission and auditorium wifi was down. Is this because of the Sirius broadcast? Am I paying the price for Met’s Sirius technical snafus? The staging, although of course breathtakingly beautiful, needs a serious tune up. Zeff would not be pleased. More later…

    • Camille says:

      Fifty-five fucking minutes on Hump Night?

      What are these people smoking to think people will tolerate this schite for less than mediocre opera productions?

      I am so DONE with the Met. I ‘ll go anywhere—Taconic Opera, anyone?—rather than freezing my arse off in that big, cold, 24kt. plated gold brass assed ripoff emporium.

      Basta. I’m going to Carnegie. To anywhere. Else.

      • bluecabochon says:

        To be fair, they made an announcement that there was an issue with the set change.

        The Machine is still there, I understand, so perhaps it’s at fault somehow? Manufacturing ill will toward a fellow behemoth…

        • efrayer says:

          They did not say there was a problem with the set or anything else. After 50 minutes we received a bizarrely vague announcement informing us that the intermission was taking longer than usual and the performance would start in 5 minutes.

          • bluecabochon says:

            I’m quite sure that they mentioned a scene change problem; I was listening on Sirius. Yes, it was announced at the end of the intermission while Will and Margaret were vamping, trying to fill air time.

          • efrayer says:

            It was not mentioned in the theater. They may have told the Sirius audience but in the theater we were

          • efrayer says:

            In the theater we were only told the intermission was lasting longer than usual.

  • whatever says:

    Listening on Sirius … We were told it was some over-tweeting audience member who crashed the system, prompting the delay …


    • efrayer says:

      Ha! Third act starting…

      • grimoaldo says:

        I think this is you efrayer, isn’t it? Most amusing and amazing:

        “The performance began on time BUT the First Act Intermission went on for 55 minutes. AND the auditorium wifi was down during most of that time. I could only assume there was a problem with the Sirius broadcast connection as well. After about 50 minutes a large chunk of the audience began impatiently and rhythmically clapping in unison. I have never heard that at the Met before. I almost expected them to start chanting “We Want The Show! We Want The Show!” Finally a little man came out in front of the curtain with a mike. “The intermission is taking longer than expected. The performance will go on in another five minutes.”

        Really informative. And as if it was something the audience was doing. “So sorry the intermission is taking longer than expected but John Corn is still in the men’s room AND we haven’t sold the last crummy seventeen dollar dill cream cheese and salmon sandwich so…”
        Intermissions don’t TAKE longer. They last longer because of delays with the show. I am still assuming it was a technical snafu with the Sirius broadcast. Why do we the audience have to pay for the Met’s Sirius snafus? Even if we are getting our second ticket for 50% off. I almost hoped there would be a riot. A calm, dignified, well mannered riot, but a riot nonetheless.”

        And there was humungous long pause in the new Elisir, La C informed us, because they couldn’t get a planned transformation scene (such as theatres have been doing since the time of Lully, Mozart, Victorian pantos) to work.
        The sheer incompetence on every level is both sad and sort of funny at the same time.

  • La Valkyrietta says:

    Guleghina’s grido did not do it for me. The tenor would not be called ‘cane’ in Naples, but I doubt there’ll be many bravos for him there. Of Liù, well, better not say much. After that long first intermission I decided not to stay for the third act, though I was curious about listening to the conductor further. He does the Ring later. Any thoughts about the conductor? Anyone? Riccardo’s costume on the Dress circle, worn by Bergonzi in Ballo, of course, does bring mamories of memorable nights at the Met, this was not one, though I enjoyed orchestra, chorus, production, and Timur.

  • Quanto Painy Fakor says:

    So when do we find out who the party pooper was?