Cher Public

  • Donna Anna: No, it doesn’t wear out. And neither does this, though some have had enough of Pasquale. It always evokes a terrace... 4:08 PM
  • manou: “Un giaio rossignolo”& #8230;not very Italian. The arm movements have a certain italianità. 4:08 PM
  • mrsjohnclaggart: Oh Krunoslava, Steve Bach who wrote the wonderful and ASTOUNDINGLY DOCUMENTED, biography of Moss Hart, called Dazzler,... 4:07 PM
  • mrsjohnclaggart: WONDERFUL review, NPW-Paris, full of insight and deftly written and organized. I could barely believe the Black Swan at... 3:56 PM
  • LT: Tee hee httpv://www.youtub 9RF8baQ 3:56 PM
  • mrsjohnclaggart: Oh, Krunoslava, I AM or uh, WAS Zenaida Jurjevskaya.I know Saint Camille, after a seminar into research methods with... 3:52 PM
  • John Anderson: Remarkable – is she related to Jacques Prell? 3:41 PM
  • John Anderson: Great audience participation: httpv://www.youtub TncBrxI 3:35 PM

All for the best

George Steel (center) announces that New York City Opera is destroying, giving away or selling off most of its stock of repertory productions. Presumably a few of the old sets will be kept on hand to burn for warmth during the long winter ahead. [New York Times] (Photo by Carol Rosegg.)


  • OperaTeen says:

    It would be pretty cool if they opened the sale to the public like a garage sale(However humiliating that might be.). I would love to own a prop or something. :-)

  • Quanto Painy Fakor says:

    Unbelievable ! In these days of abandoned, unnused commercial facilities in the suburbs, one would think that a kind corporate person could be found to donate an old building or two. They could even open a theme park like OPERA LAND and save the most important designs. Just think of all those happy children running around the set and projections of Frank Corsaro’s Die Tote Stadt. Surely the most important NYCO step units, escape stairs, platforms, framing and rigging components will be evaluated and saved so they don’t have to build such things from scratch.

    Here is an example of an auction of a failed opera company in Amsterdam this week

    You can buy all of these prop riffles for a song

    They should also send someone a big bill for storing Porgy for so long !

  • Krunoslav says:

    The comment about all sold-out performances last year ignores that they got a grant to discount most seats to $25.

    What a character shines through the quotes!

    • Aida Lottapasta says:

      Ding, Ding, Ding!!! Exactly. Let’s see how well NYCO does selling out BAM and City Center without the ENTIRE season being subsidized by the donor who got the General Director the job in the first place. Relying on one or two major donors to balance the budget has been the downfall of more than one non profit organization…

  • LittleMasterMiles says:

    Well, Steel is right that if storing productions (for a house of a size they’ll be lucky to see again) is that big a money-loser they’re better off rid of them. Better they should be sold to a company that can actually put them on a stage.

    Perhaps I’m being sentimental for his glory days (for such they were) at Miller Theater, but I think the damage done by the board of NYCO during and after the Mortier debacle left Steel with a completely irreparable situation: he was made captain of the Titanic after it hit the iceberg.

    Other than magically making money fall down from the sky (during a severe recession), how does anybody think Steel could realistically have saved NYCO?

    • LittleMasterMiles says:

      (I’m not saying he hasn’t made mistakes. I’m just saying the company was doomed anyway.)

  • atalaya says:

    Steel is in so over his head. Of course he’s making the water shallower and shallower so he’ll finally have a company in a size with which he feels comfortable.

    Three examples from this one article alone showing he’s clueless:

    He defensively attacks the Times reporter who asks the legitimate question of what productions are going to be saved. “Here you are, trying to weasel your way into our artistic planning”. The Times was shocked/insulted enough by this statement to include it.

    He admits that much is going to get trashed before belatedly realizing that some people may have various attachments. So he calls up the reporter and gives the “in the best possible way” line. Flippant insincerity much?

    Then he’s upset that the Times even thinks this is a story. Can you imagine people interested in what’s happening to the opera company they once loved and the productions they once loved? Does he have any idea how attached people get to opera? That’s the damn reason the donations keep coming in. And he sees nothing wrong with steamrolling over them or their memories.

    For those unaware, the new NYCO office is near Steel’s residence. Those in the corporate world know that this is a classic douchey CEO move.

    Steel’s reign at NYCO from the start has been one of incompetence. Planning a season with no popular appeal -- leading to dismal ticket sales, which leads to poor donations. Treating the musicians and unions -- the ones who had given decades of their lives to NYCO -- with contempt.

    People here were calling for his firing years ago. A shame those in charge never heeded the warnings. The damage he’s inflicted is irreversible. He’ll eventually get canned but by that point who cares? NYCO is a shell of what it once was.

    As for the company being doomed no matter what, that may -- or may not -- have been the case. But it was pretty clear that Steel was not the person to be running it. Steel lacked the skills and experience to run NYCO. (Money does fall from the sky for the arts occasionally. But usually to people who show they know how to spend it.) He never could’ve saved NYCO. Nor did he really want to preserve it in it’s grander form. Knowing this, he never should have taken the job. The board was idiotic in hiring him and more idiotic in not quickly firing him.

    Perhaps if somebody had come in with knowledge of how to run a large opera company -- and wanted to run a large company -- the outcome would’ve been different. Steel made it clear from the start he didn’t like a big theater and the “burden” that filling all those seats presented. Stubborn, stupid, and shallow are not traits one wants for a person running what was one of the top four companies in the US.

    Soon he’ll get NYCO down to Miller Theater size. The NY Times may no longer deem his organization newsworthy. He can do his own little thing. Then he’ll finally be comfortable.

    • Rory Williams says:

      Ata, I am not sure what you mean by “For those unaware, the new NYCO office is near Steel’s residence. Those in the corporate world know that this is a classic douchey CEO move.” Not trying to ding you, I truly don’t understand what this means. (Thus revealing I’m not corporate. No surprise!) Is it that he has a free apartment? Sorry to be a doof — story of my life — but can you explain for us rural types why that’s a bad thing rather than an accident of NYC real estate? Thanx.

      • whatever says:

        relocating an entire operation to a location that is convenient for the CEO (or divisional VP, or what have you) without any consideration for impact on staff, on operations, or to some extent even on finances (i.e., whether it is the most economically viable alternative (versus either staying put or some other, less ceo-convenient, location).

        actually, i’ve seen it a couple or three times over the years — it really *is* a douchey move … in each case, the exec responsible was a weasel.

        • Quanto Painy Fakor says:

          Why should the guy schlep all the way uptown to work in the basement with no windows?

          • DonCarloFanatic says:

            That’s not the point. Studies show that entire huge corporate headquarters with thousands of employees have been moved from cities to suburban “campuses” that are inaccessible by public transportation (thus making their less-than-managerial staff from the city unable to continue working for them)—yet always within 30 miles of the CEO’s mansion home.

            Another part of the relo story is moving far enough to break the prior union control, but Steel apparently has managed that already.

            Actually, he should have an office wherever in midtown the well-heeled donors find most convenient, near a chic lunch or dinner spot or upscale shopping, whether it’s a cheap rental or not. Board members do not find it amusing to travel on long cab rides to hitherto unknown areas of the city. Even if he runs NYCO so far into the ground they’ll be putting on the next season in somebody’s barn, he’ll still need donors.

    • Percicaticus says:

      If moving NYCOpera’s offices downtown was a money saving move, then they failed in their due diligence. A well known recording company had recently moved their offices to another borough to save money from the same building NYCO moved into. The rent per square foot payed by NYCO was three times what the other company was paying at the time, and considered too much. Convenience has its cost. Complain about windowless offices all you want, but they were in a theatre. Professionals find that a convenient truth.

    • RDaggle says:


      I recall reading that all the old NYCO offices in the basement of the former-State theater were eliminated in the recent renovation. That space was given over to expanded infrastructure for the theater. Citation needed, but I’m sure I read that somewhere.

      Also, weren’t the new offices on Broad Street arranged by the current Chairman of the Board Charles Wall? Didn’t he get NYCO a deal to use some office space via his Phillip Morris Inc. connection?

      No comment on comparing 75 Broad Street in the center of the Finance district with a remote suburban office park. Actually it’s got to be almost exactly mid-way between the two theaters in use this season: BAM and City Center.

  • And it’s over a cigar store.

  • Quanto Painy Fakor says:

    Sing along with Luisa. She has all the trills at her fingertips!

  • Vergin Vezzosa says:


  • Quanto Painy Fakor says:

    And just as Opera week is approaching!

    • Camille says:

      “R-E-S-P-E-C-T—find out what it means to me.”

      Bless your heart, Aretha.
      Guessing that Nessun dorma of hers really did come from her soul.

  • Meimei says:

    Perhaps the Met can buy the 1968 Capobianco production of Manon and burn that ugly mess that starred Netrebko last spring.

    • WindyCityOperaman says:

      I couldn’t agree with Meimei more about the Met’s current Manon mess . . . the Capobianco production was wonderful. Sad, but I think all the costumes involved in that production went up in flames at a warehouse fire that happened while Bubbles was the general director.

    • warmke says:

      Any production from 1968 is virtually unsalvageable physically unless it’s repaired every year, and even then it’s technically out of date.. Rebuilt productions on original designs can be wonderful: San Francisco did a Rosenkavalier on the original Roller designs, it was lovely to see but dead theatrically. I suspect Capobianco’s work wouldn’t be as valid as one thinks. Did he actually do his own designs?

      • La Cieca says:

        I think the Capobianco Manon was last revived early in the 1980s. The sets and costumes may have been rented out since then. To refurbish a the sets for a production that old, to relight it, to sort out which costumes can be repaired and which have to be made over from scratch — that is going to cost very nearly as much as an entirely new production, especially given that NYCO’s new productions in recent years have been generally low-budget. (And if this were being done for the Met, remember that this company invested only a portion of the costs associated with this production, along with Covent Garden, La Scala and other companies.)

        And what you would end up with was a Capobianco production minus Tito Capobianco, which is not at all the same thing as a “Capobianco production.” the basis of a production is not (only) sets and costumes but acting, movement and general concept as well. Very little of this second group of elements would likely be present in any revival of a Capobianco Manon, whether the 80 year old original director came out of retirement or a new director created a new production within the shell of the NYCO sets and costumes.

        And there is the further issue that a production, no matter how “period,” is a function of the Zeitgeist of the time in which it was created. Zeffirelli’s Turandot is as much about the sociopolitics of New York in the 1980s as it is about China or Carlo Gozzi or late-period verismo. Do we really need to sit through four hours of Manon for a second-hand lecture on the state of the sexual revolution circa 1969?

        • SF Guy says:

          Capobianco pretty much recreated the NYCO Manon for Sills and Gedda at SFO in 1971--the very “traditional” productions felt almost identical, but in fact had different designers (Marsha Louis Eck/Jose Varona for NYCO, David Mitchell/Hal George for SFO). Capobianco has not directed any of the subsequent SFO revivals, and his name appears nowhere in the credits; the powers that be at SFO seem to agree that there’s no such thing as a Capobianco production without his actual involvement.

          • warmke says:

            “Name” directors rarely return for revivals in large houses unless specifically stated in the contract terms of the original production, the assistant of the premiere is usually there to remount it; as the production goes on the oridinal conception is further corrupted through either laziness or distance from the original. This is a majot problem in Europe, where assistants in charge of remounting Decker, Loy, Carsen or Hampe productions frequently uttered such contempt for the original directors that they simply attempted to mount their own concepts, without skills or knowledge of the score, leading to fights with major singers in large theaters. Bringing back the original director is cost-prohibitive, the original director is rarely interested.

            Capobianco was left off for other reasons. He was offered the general directorship at SF before Mansouri, he declined it, their animus towards the person who took the job was well known, Capobianco demanded his name be taken off his productions out there under the other general director. No one should assume he was an easy person. He refused to refer to Julius Rudel by name for 20 years.

        • derschatzgabber says:

          Many years ago I saw an interesting photo essay on production styles (perhaps in Opera News). Photographs were provided of singers costumed for soprano Mozart roles in traditional productions from the 30s to the 70s (i.e., set in the period suggested by the libretto). Even though the costumes were traditional, it was easy to tell which decade each costume had been designed in.

      • armerjacquino says:

        The other question is what on earth happened to the current MANON between its four and five reviews in London and the ‘ugly mess’ that apparently turned up at the Met. Was it redesigned or redirected? I know there were casting problems at La Scala, but how did the production fare there? It just confuses me that the same production with the same singer as the heroine can be deemed a huge hit in one city and a flop in another.

        • armerjacquino says:

          four and five star reviews, that should be, obv.

        • messa di voce says:

          Maybe we just have bitchier queens in NYC?

        • grimoaldo says:

          It may seem counter intuitive but I believe the production was not as successful in NY as in London because of the conductor:

          “I’ve always held that Massenet’s Manon is an outright masterpiece, but never until now seen a performance that justified my belief …. Antonio Pappano’s conducting must take great credit for this: vigorously muscular and boldly coloured, it never lets the score drift into whimsy or sentimentality.”

          Whereas Luisi at the Met was very, very poor, did not make the music sparkle as it should, no sense of French style, made a lot of the work sound dreary, tawdry, commonplace and dull. A good conductor can really make a show work on every level.

          Also the pairing of Netrebko with Grigolo created a sensation in London, same review:

          “I have to go way back to remember a soprano and tenor so thrillingly matched and strongly framed.”

          • manou says:

            Grim -- you are probably right about the conductor (I was watching Pappano last night conducting Rheingold with his usual total commitment and demonic energy), but I do also think it is a question of scale. The spare sets were fine on the much smaller Covent Garden stage and should probably have been re-thought for the vast expanse of the Met.

            One of the 22 very enthusiastic reviews that amerjacquino quotes says this :

            “Updating the action to the time of composition was fine in itself but the lack of any discerning visual metaphor ultimately threw all the onus on the performers, and luckily having Netrebko and Grigolo in the leading roles, they were able to carry such a weight on their shoulders, but I have to agree with a colleague who pointed out that without such a starry cast any revival of this Manon will be a very drab affair. Given that this is a co-production with the Met, La Scala and Toulouse one would have hoped for a bit more visual elegance. It looked bare on the Royal Opera House stage so it’s going to look even sparser at the Met.”

            I have a distinct personal antipathy towards Grigolo, and would much prefer to see Beczala in the role, but he definitely garnered plaudits and was very well received (except that someone commented that all his passion was directed to the audience and not to Netrebko -- I would have said to himself).

            But I have only seen (and much enjoyed) the Covent Garden production, and so I am really unable to comment on the Met effort.

          • manou says:



        • oedipe says:

          Well, for what it’s worth, I can tell you that the opinions I’ve read on French blogs about the production at the Met have been quite positive.

          • oedipe says:

            Come to think of it, maybe in America Manon is subject to a cultural stereotype that associates it with Louis XIV, so that any staging that doesn’t evoke Louis XIV seems ugly?

  • Quanto Painy Fakor says:

    The NYCO Website still lists these productions for Rental:

    Production Year Original Director What is Available
    The Abduction From The Seraglio 1999 Nicola Bowie Set (John Conklin)
    Costumes (Constance Hoffman)
    Acis and Galatea 2000 Mark Lamos Costumes (Constance Hoffman)
    Agrippina 2001 Lilian Groag Set (John Conklin)
    Costumes (Jess Goldstein)
    Alcina 1983 Andrei Serban Set (Beni Montresor)
    Alcina 2003 Francesca Zambello Costumes (Martin Pakledinaz)
    Anna Bolena/Maria Stuarda/
    Roberto Devereaux 1973 Tito Capobianco Set (Ming Cho Lee)
    Ariadne auf Naxos 1973 Sarah Caldwell Set (Herbert Senn)
    Attila 1981 Lotfi Mansouri Set (Ming Cho Lee)
    The Ballad of Baby Doe 1958 Vladimir Rosing Set (Donald Oenslager)
    The Barber of Seville 1988 Lotfi Mansouri Set (Desmond Heeley)
    Costumes (Desmond Helley)
    La Bohème 1995 Graziella Sciutti Set -- Incomplete (John Conklin)
    Costumes -- Incomplete (Joseph Citarella)
    La Bohème 2000 James Robinson Set (Allen Moyer)
    Costumes (James Schuette)
    Brigadoon 1986 Gerald Freedman Set (Desmond Heeley)
    Costumes (Desmond Heeley)
    Candide 1982 Harold Prince Set (Clarke Dunham)
    Costumes (Judith Dolan)
    Capriccio 2005 Stephen Lawless Costumes (Ashley Martin-Davis)
    Carmen 1992 Jonathan Eaton Set (Paul Shortt)
    Costumes (Eduardo V. Sicangco)
    Carmina Burana 1997 Donald Byrd Set (John Conklin)
    Casanova 1985 Arthur Masella Set (Franco Colavecchia)
    Cavalleria Rusticana/I Pagliacci 1991 Jonathan Eaton Set (Paul Shortt)
    Cinderella 2004 Baayork Lee Costumes (Greg Barnes)
    La Clemenza di Tito 1979 Federik Mirdita Set (Lloyd Evans)
    La Clemenza di Tito 2000 Stephen Wadsworth Set (Thomas Lynch)
    Costumes -- Incomplete (Dunya Ramicova)
    The Cunning Little Vixen 1981 Frank Corsaro Set (Maurice Sendak)
    Costumes (Maurice Sendak)
    Death in Venice 2005 Tazewell Thompson Set (Donald Eastman)
    Costumes (Merrily Murray-Walsh)
    Dialogues of the Carmelites 2002 Tazewell Thompson Set (Donald Eastman)
    Costumes (Merrily Murray-Walsh)
    Don Giovanni 1989 Harold Prince Set (Rolf Langenfass)
    Costumes (Rolf Langenfass)
    Don Giovanni 2009 Christopher Alden Set (Paul Steinberg)
    Costumes (Terese Wadden)
    Don Pasquale 1996 Leon Major Set (Allen Moyer)
    Costumes (Allen Moyer)
    L’Elisir d’Amore 2005 Jonathan Miller Set (Isabella Bywater)
    Costumes (Isabella Bywater)
    L’Enfant et les Sortilèges 1990 Frank Corsaro Set (Maurice Sendak)
    Costumes (Maurice Sendak)
    L’Étoile 2001 Mark Lamos Set (Andrew Lieberman)
    Costumes (Constance Hoffman)
    Falstaff 1998 Leon Major Set (John Conklin)
    Costumes (John Conklin)
    La Fanciulla del West 2004 Lilian Groag Set (John Conklin)
    Costumes (Constance Hoffman)
    Flavio 2003 Chas Rader-Schieber Set (David Zinn)
    Costumes (David Zinn)
    Die Fledermaus 1974 Gerald Freedman Costumes (Thierry Bosquet)
    The Glass Blowers 2000 Christopher Alden Set (John Conklin)
    Costumes (Gabriel Berry)
    The Good Soldier Schweik 2003 Rhoda Levine Set (John Conklin)
    Costumes (John Conklin)
    Häansel and Gretel 1998 James Robinson Set (John Conklin)
    Costumes (Anna Ruth Oliver)
    Haroun and the Sea of Stories 2004 Mark Lamos Set (Riccardo Hernandez)
    Costumes (Candace Donnelly)
    L’Heure Espagnole 1990 Frank Corsaro Set (Maurice Sendak)
    Costumes (Maurice Sendak)
    Imeneo 2004 Christopher Alden Set (Marsha Ginsberg)
    Costumes (Doey Lüthi)
    Intermezzo 1999 Leon Major Costumes (Martha Mann)
    Jen?fa 2006 Jonathan Miller Set (Isabella Bywater)
    Costumes (Isabella Bywater)
    A Little Night Music 1990 Scott Ellis Set (Michael Anania)
    Costumes (Lindsay W. Davis)
    Little Women 2002 Rhoda Levine Set (Peter Harrison)
    Costumes (Paul Tazewell)
    Lizzie Borden 1996 Rhoda Levine Costumes (Constance Hoffman)
    The Love for Three Oranges 1985 Frank Corsaro Set (Maurice Sendak)
    Costumes (Maurice Sendak)
    Lucia di Lammermoor 1988 Tito Capobianco Set (Marsha Louis Eck)
    Costumes (Jose Verona)
    Macbeth 1997 Leon Major
    Costumes (John Conklin)
    Madama Butterfly 1997 Mark Lamos Set (Michael Yeargan)
    Costumes (Constance Hoffman)
    The Magic Flute 1987 Lotfi Mansouri Set (Thierry Bosquet)
    Costumes (Thierry Bosquet)
    Manon 1968 Tito Capobianco Set (Marsha Louis Eck)
    Margaret Garner 2007 Tazewell Thompson Set (Donald Eastman)
    Costumes (Merrily Murray-Walsh)
    Mefistofele 1969 Tito Capobianco Set (David Mitchell)
    Costumes (Hal George)
    The Merry Wives of Windsor 1980 Lou Galterio Set (John Conklin)
    The Mikado 1984 Lotfi Mansouri Set (Thierry Bosquet)
    Costumes (Thierry Bosquet)
    Monodramas 2011 Michael Counts Set (Michael Counts)
    Costumes (Jessica Jahn)
    The Most Happy Fella 1991 Phil McKinley Costumes (Greg Barnes)
    The Mother of Us All 1998 Christopher Alden Set (Allen Moyer)
    Costumes (Gabriel Berry)--Incomplete
    Norma 1985 Andrei Serban Set (Michael Yeargan)
    Le Nozze di Figaro 1977 John Copley Set (Carl Toms)
    Costumes (Carl Toms)
    Of Mice and Men 1997 Rhoda Levine Set (John Conklin)
    Costumes (Jess Goldstein)
    Orlando 2004 Chas Rader-Shieber Set (David Zinn)
    Costumes (David Zinn)
    Orlando Paladino 2002 James Robinson Costumes (Martin Pakledinaz)
    Partenope 1998 Francisco Negrin Set (John Conklin)
    Costumes (Paul Steinberg)
    Patience 2004 Tazewell Thompson
    Costumes (Merrily Murray-Walsh)
    Paul Bunyan 1995 Mark Lamos Set (Paul Steinberg)
    Costumes (Constance Hoffman)
    Pirates of Penzance 2006 Lillian Groag Sets (John Conklin)
    Costumes (Jess Goldstein)
    Prince Igor 1994 Dejan Miladinovic Set (Mileta Leskovac)
    I Puritani 1974 Tito Capobianco Set (Carl Toms)
    A Quiet Place 2010 Christopher Alden Set (Andrew Lieberman)
    Costumes (Kaye Voyce)
    The Rape of Lucretia 2001 Christopher Alden Set (Paul Steinberg)
    Costumes (Paul Steinberg)
    Regina 1992 Rosalind Elias Set (James Leonard Joy)
    Rigoletto 1999 Rhoda Levine Set (John Conklin)
    Costumes (Tracy Dorman)
    Rinaldo 2000 Francisco Negrin Set (Anthony Baker)
    Costumes (Anthony Baker)
    La Rondine 1984 Lotfi Mansouri Set (Ralph Funicello)
    Costumes (Sam Kirkpatrick)
    Semele 2006 Stephen Lawless
    Costumes (Anthony Baker)
    The Seven Deadly Sins 1997 Anne Bogart Set (John Conklin)
    The Sound of Music 1990 James Hammerstein Set (Neil Peter Jampolis)
    South Pacific 1987 Gerald Freedman Set (Desmond Heeley)
    Street Scene 1959 Jack O’Brien Set (Paul Sylbert)
    The Student Prince 1980 Jack Hofsiss Costumes (Patton Campbell)
    Susannah 1971 Robert Lewis Set (Ming Cho Lee)
    Sweeney Todd 1984 Harold Prince Set (Eugene Lee)
    Costumes (Franne Lee)
    Tosca 1998 Mark Lamos Set (Michael Yeargan)
    Costumes (Constance Hoffman)
    Die Tote Stadt 1975 Frank Corsaro Set (Ron Chase)
    Projections (Joan Larkey)
    La Traviata 1995 Renata Scotto Set (Thierry Bosquet)
    Costumes (Thierry Bosquet)
    Il Trittico 2002 James Robinson Set (Allen Moyer)
    Costumes (Bruno Schwengle)
    Turandot 1974 Dino Yannopolous/
    Jonathan Eaton Set (Beni Montresor)
    Costumes (Beni Montresor)--Incomplete
    The Turn of the Screw 1962 Allen Fletcher Set (Jac Venza)
    Vanessa 1993 Michael Kahn Costumes (Martin Pakledinaz)
    Il Viaggio a Reims 1999 James Robinson Set (Allen Moyer)
    Costumes (Anna Ruth Oliver)
    Wonderful Town 1993 Richard Sabellico Set (Michael Anania)
    The Life and Times of Malcolm X 1986 Rhoda Levine Set (John Conklin)

  • parpignol says:

    “Here you are, trying to weasel your way into our artistic planning,”
    did he really say that to a NY Times reporter?
    is he crazy?

  • norma54 says:

    Look who’s calling WHO a weasel !!!

  • kashania says:

    I can see that NYCO is trying to save on storage costs. However, they must have some plan of keeping future new productions. Or is everything going to be a one-off?! Their recent Don Giovanni was probably the best-received production of Steel’s tenure. Why scrap it? The only reason I can see is that it’s built to suit the dimension of the State Theatre stage and the company has no plans of ever going back there…

    • brooklynpunk says:


      AS USUAL… yours is a voice of reason, or at least, moderation in this matter.

      It appears obvious that City Opera will not return to the former State Theater, in however long their existence might be-nor will they neccessarily intend to present the rep that they formally did.

      The BAM and City Center stages, and those theaters technical abilities are far different from that of their former home at Lincoln Center, as is the the basic Company outlooks and philosophies for being (for better or for worse…that remains to be seen, hopefully)

      Just judging from the NYCB, many of the old Balanchine productions that were made for their original home at City Center DID/DO NOT work --or fit, very well , on the Lincoln Center stage.

  • Bluessweet says:

    Is it something in my computer or is anyone else getting big white squares with a small blue circle in the upper left hand coner in the place where a You Tube link might be????

    • Quanto Painy Fakor says:

      My guess is that you’re using a Mac with Safari. That often happens when the computer’s memory is nearly full. Shut down and restart should reload properly. Could also be out of date flash pluggin.

      • Bluessweet says:

        THank you QPF- No, I’m using Vista 64 and IE9. I am geting vids off facebook with no problem. I’ll have to look deeper. Maybe my new edition of Bitdefender is being too protective.

  • Cranky Coloratura says:

    Atalaya, you’ve got it right in every particular. This is a sad time for our beloved art.

  • JNinNYC says:

    From my post yesterday at A Liberal’s Libretto: George Steel said that if they want to revive a certain production, the sets and costumes could be reconstructed at a lower cost. So evidently, the age of disposable opera productions is upon us.

    “Meh …. I’m so over that production -- let’s chuck it out. Tomorrow’s trash day, right?”

    What short sighted-ness.

  • BillyBoy says:

    That list brought back some fine memories…

    Maurice Sendak’s Vixen, Caldwell’s Ariadne, Mefisofele

    Nothing can bring back the shows of yesteryear.