Headshot of La Cieca

Cher Public

  • DeepSouthSenior: I find myself agreeing with about one-third of what redbear says. This is really scary. Who... 11:00 PM
  • DeepSouthSenior: Interesting conclusion. Attack of the light bulbs and revenge of the killer drapery. 10:53 PM
  • Quanto Painy Fakor: Intermission - httpv://www.youtub e.com/watch?v=dVSd a6DN0c8 10:37 PM
  • Ruxxy: m. croche I wasn’t aware that we were talking about a race – I thought we were talking... 10:31 PM
  • Quanto Painy Fakor: In other words, she had very little experience when she was elevated to powerful... 10:30 PM
  • Quanto Painy Fakor: No terrorists in this! httpv://www.youtub e.com/watch?v=pl3g OrSIMKM 10:25 PM
  • Quanto Painy Fakor: httpv://www.youtub e.com/watch?v=OlfY c4Ee3T8 10:05 PM
  • Guestoria Unpopularenka: It’s good enough for me. Do I need to cover my face to make it better? 10:01 PM
  • Guestoria Unpopularenka: I’m sure that country is devastated to hear that. 9:57 PM
  • m. croche: Racist ? Don’t make me laugh. Ok… The veil is not only a very primitive expression, Well... 9:42 PM

Why, oh why?

“Alden Drops the Ballo: His Milquetoast Take on Verdi’s Classic Fizzles at the Met” [New York Observer]

183 comments

  • Quanto Painy Fakor says:

  • Quanto Painy Fakor says:

    Here is Margit Saad as Coralie Baraqny. (Margit was the first wife of Jean-Pierre Ponnelle and mother of the conductor Pierre-Dominique Ponnelle) in the old biopic about Suppé !



  • Angelo Saccosta says:

    Maybe the time has come for really radical approach to opera staging : junk the whole notion of opera as theater and admit that opera is music first, last, and always and that the stories are only skeletons on which to hang the music. Then go out and find some great “park and bark” singers like Pavarotti, Tucker, Nilsson, Milanov, Warren, MacNeil, Tebaldi, and just let them stand and sing. Costumes and minimal staging would be appropriate to the time period of the story. The audience can supply whatever dramatic meaning it wants, based on each person’s own life experiences.
    How’s that for radical regie ?

    • armerjacquino says:

      “junk the whole notion of opera as theater and admit that opera is music first, last, and always and that the stories are only skeletons on which to hang the music.

      I know someone you’d get on with.

    • oedipe says:

      Is park-and-bark singing supposed to be “appropriate to the time period of the story”?

    • Indiana Loiterer III says:

      Costumes and minimal staging would be appropriate to the time period of the story.

      But why bother with costumes and staging if opera is “music first, last, and always”? Why not just have concert performances in evening dress?

    • Cocky Kurwenal says:

      Please tell us where the great park and bark singers like Pavarotti, Nilsson and Tebaldi are hiding -- I’ve a feeling we might somehow manage to get them work even without much uptake of your radical regie ideas, if only you’ll tell us where to look.

      • kashania says:

        Isn’t it a shame that they are depriving the world of their golden voices because no one will let them just sing? Very selfish of them. I wonder how they’re making ends meet…

    • la vociaccia says:

      Sweetheart, what you just described is something known as a concert performance. They’re very comm

    • The_Kid says:

      I think it is rather rich to suggest that Nilsson, Tebaldi, MacNeil et al. parked-and-barked. Sure, they didn’t turn cartwheels all around the stage, or emit loud hooty noises as part of “acting”. That does not mean that they did a Melba onstage. Here, for instance, is Tebaldi in Butterfly’s hara-kiri scene: in which universe would you call that parking and barking? As for Nilsson, I don’t think she could have afforded to park-and-bark: don’t forget that she shared roles such as Isolde, Verdi’s Lady and Bruenhilde with Varnay, Borkh and Moedl, all of them actors par excellence.

      • Angelo Saccosta says:

        Girls, Please note the quotation marks around “bark and bark.” They were meant to co-opt that moronic expression and render it the idiocy it is. I know very well what Tebaldi did in Butterfly because I saw her do it in November 1958 at the old house, and I saw Nilsson in everything she did too and MacNeil and Warren and Luciano too over the last 60 years. When dramatic crunch time came, however, all of them just stood there and sang their hearts out, and that’s the way it “oughta” be !! I repeat : opera is a musical art form. Some of you may have been at Carnegie Hall for the OONY Adriana. Anyone who had dry eyes at the end of that performance when Jonas did that staggering diminuendo on the high B, drssed in formal attire, no less!! has a heart of stone. And yes, opera in concert done like that is better than any staged “konzept” performance.

        • armerjacquino says:

          Ballet’s a ‘musical art form’ too- would you prefer that the dancers just stand there while the orchestra plays the score?

        • oedipe says:

          Sounds like what you were expecting (and got) from this OONY Adriana was a Kaufmann recital, not an opera performance.

    • Batty Masetto says:

      Yeah, that Nilsson was sure some park-n-bark singer. Like the flying tackle she took after Chrysothemis in the Elektra” I saw her in in Munich. Or when she similarly launched herself in mid-high-C in Tosca and landed, still holding the note, without a waver. Or when she put on that famous miner’s helmet for Karajan’s Walküre because she was irritated nobody could see what she was doing in his dismal lighting.

      Yep, just park ol’ Birgit somewhere and let her make noises like on the recording, that would have made her really happy.

    • Batty Masetto says:

      I am not convinced that a quotation mark means what you think it means.

      Or for that matter, that opera does, either.

    • grimoaldo says:

      I thought this post was a joke, ironically saying “let’s go back to the Met of fifty years ago with screechy sopranos and gulpy bawling tenors standing stock still in silly costumes in front of cardboard sets” but I guess I was wrong.
      Pavarotti and Nilsson were fab, Warren sounds great on those old records,the rest of those named do not push my buttons at all.

    • kennedet says:

      That is radical!! The great achievement of opera is that it combines all of the performing arts. I agree that the music holds more prominence but I wouldn’t junk the the importance of what is supposed to make opera a complete artisitc experience. I think they should find stage directors that are musical,qualified and experienced instead of just movie directors with reputations. There must be opera stage directors who have done and can do a credible job of presenting a true depiction of the characters and respect the composer and librettist.They have the resources. Find Them!!!

      Unfortunately, sometimes too much emphasis is put on “putting butts in seats” in order to survive. Therefore you get insane updating,titillation and whatever is fashionable among popular culture today to explain the story. Well, opera is indestructable and will survive all of this insanity. It always has.

      • Angelo Saccosta says:

        Well said, Kennedet. If the stage directors knew music, they would not commit the atrocities they do. Ditto for general managers !
        And yes, opera will survive it all.

  • DonCarloFanatic says:

    We can still boo the “production”--the gown and jewelry choices.

  • Quanto Painy Fakor says:

    I wish we could go back. I just listened to a rare inhouse recording from Chicago 1964 -- Carmen with Bumbry, Corelli and Massard conducted by the wonderful Dervaux. Such fantastic energy, the likes of which one rarely encounters in performances today. The audience was in a frenzy of applause and shouting louder than the loudest measures in the score. I wish La Cieca could put it online for everyone here.