Cher Public

Whose regie? Our regie!

Oh, those Alps (“Loved her, hated him!”) have done it again, or at least for the first time. SF Guy correctly reasoned from those familiar peaks that the opera in question in last week’s Regie quiz was La Wally. This very chic production was devised by Guy Joosten for the Theater St Gallen, and for those curious about Aufführungspraxis of the Catalani repertoire, La Cieca offers a video trailer of the show immediately following the jump.

And now, cher public, your challenge for the first week of November.

  • brunettino

    Un Ballo in Maschera

    1. Ulrica and Riccardo at Ulrica’s, with crowd
    2. Amelia and Riccardo at the Gallow’s Place
    3. The Ball: conspirators and masked guests

  • spiderman

    Just because the Lady opens her Voice ins malvolent way! ;-)

    or maybe Elisabetta Regina al Castello di Kentilworth!

  • rysanekfreak

    La Traviata.

    1. The Brindisi.
    2. Alfredo’s aria opening Act Two.
    3. Alfredo and Giorgio Germont together at the end of Flora’s party. The big concertato.

  • tannengrin

    For sale -- democracy….two guys hugging…. that looks like Don Carlos to me. The Wall Street version.

    1 -- this could be Elisabetta and Philip in the garden, but she seems way too happy.
    2 -- Philip and Elisabetta after their big Act 4 scene
    3 -- Don Carlos & Posa, brothers in arms @ Occupy Flanders

    • luvtennis

      In this version, Elisabetta is on quaaludes. That is why she is happy.

  • David

    I have a terrible fear that we are going to be seeing a lot of ‘occupy’ chic on stage -- both operatic and straight. The merest hint of a disgruntled chorus or Shakespearean peasant revolt and out will come the tents.

    Oh, and Meistersinger clearly

    • luvtennis

      At first I thought Don Carlos because of the masks. And the signs. Then I thought Meistersinger because of the juxtaposition of the characters. But what about the signs and the masks. How could they relate to Meistersingers?

  • MonkeyBoy

    Tosca because of the aeriel type view in the second picture.

  • A. Poggia Turra

    Clearly, this is the Spike Lee production of Verdi’s beloved Luisa Miller:

    Photo One: The Duchess Frederika puts the glom on Rodolfo

    Photo Two: “Abrani, o perfido”

    Photo Three: Count Waldner -- Wurm Duet

  • Perles75

    Don Carlo as tannengrin says seems indeed to be a good guess, but I would say

    1) Fontainebleau scene between Carlo and Elisabetta before they know she will be married to Filippo. Is he showing to her his portrait perhaps?

    2) Fontainebleau act, AFTER Carlo and Elisabetta discover she will marry Filippo. The lights of the palace of Fontainebleau in the background.

    3) obviously, Posa & Carlo duet.

  • bryanchip

    This is [redacted]. I confess I am cheating. I read a review of a Wall Street/OWS production of [redacted] done somewhere in Europe--it looks a lot more interesting than the pile of rubble the Met calls a production.

  • Avantialouie

    This is clearly Weill’s “Rise and Fall of the City of Mahagonny.” 1: the “Duet of the Cranes,” or, perhaps, “Is here no telephone?” 2: Jenny rolls on the floor to tempt Jimmy with the “Alabama Song; 3: the residents of Mahagonny sing of the city’s one unforgivable crime: not being able to pay one’s way.

  • BillysBuddy

    A truly revolutionary production of Hansel and Gretel:
    1) Mother and Father, members of the 1%, realize they can use their iPhones to track their little lost tax deductions;
    2) Hansel and Gretel, just before the Evening Prayer (which, in this production, goes unanswered due to government cutbacks and a lack of cel service);
    3) The witch (here played by a bearded tenor) successfully convinces Hansel to join the revolutionary gingerbread children. Together, they destroy Mother and Father’s plutocratic dictatorship. Freedom and candy (and a lovely gay wedding) for everyone! (Gretel can be seen in yellow sweater at left, about to make out with the Dew Fairy.)

  • SF Guy

    Since this looks like Verdi, and Ballo and Carlo are taken, I’ll go with Otello:

    1) Act 1--Desdemona and Otello share a tender moment after the latest political storm has subsided.

    2) Act 4--Otello psychs himself up to kill his sleeping wife.

    3) Act 2 Finale--Iago and Otello pledge vengeance, loyalty etc.

    BTW, my thanks to Diva, without which I never would have goten La Wally (let alone heard of it):

    • MontyNostry

      Ah … Cynthia Hawkins, La Wally, Acte Un …

  • marshiemarkII

    Well the second picture looks almost identical to the Lennhoff Munich production of you guessed it Gotterdammerung :-) :-) :-) so whoever it is, it is already been there, done that. But the lady on the floor looks awfully like Nada M, so I’d say Macbeth? The first one then could fit the Brindisi, and the last one would have to be a new regie version in which they insert Dio che nell’alma infondere to bring in the homosexual element at any cost. The opera is called Don Catbeth.

  • MontyNostry

    I think Ballo too. (Non-drag Oscar.)

  • Quanto Painy Fakor

    Regie? Want Regie? The Olivier Py re-invented CARMEN from Lyon is still available here:

    Cesar Franck’s STRADELLA is still online here:

  • Beergut Nilsson

    “How to Succeed in Business Without Really Trying” by Frank Loesser
    1) “A Secretary is Not a Toy”
    2) “Happy to Keep His Dinner Warm”
    3) “Brotherhood of Man”

  • Sir Ferris

    Don Giovanni?

  • lucy brown

    At first I thought it might be Hamlet (Gertrude and the King, Hamlet and Ophelia, the Players), but thane I realized Dunce! That’s Inane! Right source, wrong oevre. That’s okay. There’s always tomorrow…and tomorrow…and tomorrow…

  • OperaTeen

    Not sure I could choose, but if I had to La Wally would be my favorite opera. And as crazy as this production looks, I’m happy to see its being produced. And my guess is Otello as well!

    • SF Guy

      After seeing Diva, I read up on La Wally and listened to the old Tebaldi recording, but have never had the opportunity to see it live, or even on video. I attended a post-performance Q&A with David Gockley shortly after his arrival at SFO during which he mentioned La Wally as one of the operas on his wish list, but so far, it hasn’t come to pass. Perhaps he could borrow this production…

      If this isn’t Otello, it certainly could be: Otello the working-class war hero tapped by a progressive party to be its electable figurehead and unite warring factions, Iago the party workhorse who thought his time had finally come, Desdemona the wealthy one-percenter who’s crossed class lines to unite with the proletariat. If nothing else, the concept would eliminate the need for blackface, which gets more embarrassing by the decade.

  • roland

    Simone Boccanegra.