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Intermission feature

Cher public, here’s your chance to discuss off-topic and general interest subjects and maybe make time for a waltz or two.

252 comments

  • manou says:

    I have just seen the HD Rigoletto, which struck me as a monumental waste of time, effort and neon. The singing was respectable to pretty good, but all this Lasvegassery was just unnecessary. The Broadway spirit also infected Mr Peretyatko, who allowed two tasteless and gratuitous pauses to accommodate applause after Caro Nome and La Donna e Mobile.

    Best bits of the intermissions were the two adorable Testé sprogs, and Lucic saying “I am not humping”.

    • manou says:

      Oh -- and the surtitles were pure “What’s Up Tiger Lily”.

    • lorenzo.venezia says:

      The only place the neon was effective was the storm scene where it looking like lighting. What revolutionary concept!

    • oedipe says:

      I too went to see the Rigoletto HD and was bored to tears! I love this opera when it’s well done, but this performance made NO impression on me, except that it seemed interminable. The singing was, I guess, decent, though in the cinema it sounded like everybody, with the exception of Damrau, was shouting. Everybody seemed on auto-pilot; again, with the exception of Damrau. Hey, the whole production was on auto-pilot! And when Michael Mayer showed up, his whole persona was conveying the message: “I am sooo shallow!”

      Indeed, one of the rare moments that didn’t feel stilted was the contribution of the Damrau babies.

      • lorenzo.venezia says:

        couldn’t agree more. the other side of the problem: the overwhelming smell of popcorn + “cortigiani vil razza” doesn’t mix. Nevertheless two theatres in the same complex were full up, people laughing at all the wrong places, eating nachos, yapping, and tapping along. A serious challenge for the future of opera from the Met… random thought: wouldn’t they be better off hiring movie directors than Broadway babies for these things, since it’s all about the HD? Other than Damrau, nothing else was happening. A shallow “concept” presented shallowly with a lot of beauty-challenged singing…

        • DonCarloFanatic says:

          The HD venues vary quite dramatically. The one I go to now has generally excellent sound baffle between screens. The popcorn has no aroma. Also no taste.

          A surprise: they showed the pole dancer in her pasties.

          I liked the production but I think the Met is trying too hard to make it seem awfully special. Vegas is a good enough setting but the story isn’t about a place. The singers were game, but Beczala does not have a convincing roving eye, Damrau’s dress was hideous (compare to the dresses Connie Francis used to wear), and Lucic’s acting was gauged for a screen close-up, not a vast barn like the Met. I thought he was very effective, but I doubt his restrained, 20th century gestures went over well in the Met itself. However, I am now in love with him and wondering why, especially considering his wardrobe of cardigans.

  • zinka says:

    The Met no longer allows the Rigoletto to sing,”Avraaaaaaaaai” as in the old days..BORRRING…And can anyone match Cornell and Leyla?????

    • bassoprofundo says:

      Zinka, what do you mean the “Met no longer allows” it? do you just mean there aren’t any baritones who can do it justice? why would the Met not allow it?

      • zinka says:

        The “come scritto” tendencies now mak the wonderful slow build=up on “Un vindice avraaaaaaaiii” obsolete and they substitute (probably in the score) a simple “avrai” and the scene loses the usual tension……..Liaten to almost everyone and you see this “come scritto’ change is so boring.

        as ever Charlie

  • 1300 posts. Six years of blogging. And a new review on Superconductor: Juilliard’s Don Pasquale.