Cher Public

Plus qu’un peu grise

“To close its season this week, New York City Opera is unleashing hurricane-force gales of laughter…. Périchole isn’t just the jolliest opera in town; for sheer fun, it could hold its own against Broadway’s best.” [New York Post]

  • redbear

    The First Ever International Opera Awards winners…

    • Cocky Kurwenal

      Did they all put together La Perichole?

      • redbear

        Sorry… here is something more on topic!

  • Glad to read of the NYCO’s recent successes.

    • ianw2

      Yes, three years ago… who would’ve thought they’d be getting this many runs on the board?

  • Nerva Nelli

    From TT’s review it is clear that “charismatic” is the new “strapping”.

  • Sheldon

    La Périchole was probably the very first opera I ever enjoyed listening to while a toddler, back in the stone ages of LP vinyl records (the 60’s for those who have to ask). In fact, I wore out the grooves I played it so many times. I can still recall the largely white and red cartoonish drawing of the leading characters on the front of the jacket. Glad to read that this production is a success!

  • Camille

    It’s always springtime with this lady—-

    From “La Valse de Paris”, 1949

    As the Youtube description says,
    “Madame Printemps porte une robe création Pierre Cardin.”

  • Trailer for the production:

  • parpignol

    opera’s man of the year: hate to say it, but doesn’t it have to be George Steel? against overwhelming odds and obstacles (including, we thought, his own cluelessness) he has managed to bring off four worthy operatic productions that enriched the musical life of the city, offered stuff we were certainly not seeing at the Met, with uneven but generally interesting production values, rather strikingly high musical values in 4 very different musical styles, and a great eye for young vocal talent presumably assembled without a big budget; isn’t it kind of amazing?

  • Nerva Nelli

    Sorry, but I thought the TURN OF THE SCREW ( usually a failsafe opera) was fairly mediocre, and I would place Alden’s PERICHOLE among the worst productions I have ever seen of anything at NYCO. I found the comic pacing terrible-- the shtick, particularly that of the gifted but WAY self-indugently deployed Burdette-- went on forever--and the tone and look gratuitous, unfunny, uncharming… just hated it. Enjoyed the conducting and the Piquillo, plus some moments from the leading lady ) and her fine French).

    • ianw2

      Why do you think it failsafe?

      (not being snarky, I’m genuinely curious. I’d probably call it the opposite)

      • Nerva Nelli

        Because I have seen something like 12 productions of SCREW, none of which, until this one, failed to be moving and/or frightening. This one was just banal, with the stupid TV and zero sense of isolation.

        Of course, one needs a good musical ensemble! And I don’t think NYCO’s designated maestro brought anything special to that aspect, either: “competent”, which is to say not good enough. I’ve seen better productions of it in places like San Jose and Toledo.

        Have you had bad luck with SCREW?

        • ianw2

          Haven’t seen it 12 times, but a few different productions. I’ve always thought that it’s a difficult show to get the right amount of creepiness before it turns into schlock. I didn’t see the NYCO one, but based one the snippets and clips, I think it might’ve missed the mark.

          BTW- is anyone else having all the Youtube videos AUTOPLAY SIMULTANEOUSLY when they open a page? It is TOO MUCH first thing in the morning.

  • Cocky Kurwenal

    Nice to see Philippe Talbot going down well with JJ, so to speak. I sang with him a few years ago -- beautiful colour, and amazing high notes. Bit of a divo though!

    • Gualtier M

      Cocky, I know Philippe is French but he looks South American and his last name is English. What is his background?

      • Cocky Kurwenal

        Never got into it, Gualtier -- just French.

        • manou

    • Buster

      Then I must have heard Talbot too, Cocky! Don’t remember a thing about him, though. Francesca Provvisionato, on the other hand, was delightful. As were you, of course.

      • Cocky Kurwenal

        Indeed Buster -- I did wonder how it went over in the theatre at the time, but he sounded amazing when standing right next to him. You’re very kind!

  • almavivante

    Saw last night’s perf. From the Post review, I expected an audience rolling in the aisles, but no, the laughter was tepid, not uproarious, and I chuckled only once (during the video scene of Perichole beating up the viceroy). Otherwise, it was mostly unfunny and, yes, Burdette’s exaggerated shtick went on forever. Another weirdly unattractive Steinberg set (not really ugly but just pointless). On the other hand: the two principals were in outstanding voice (though, sorry, M. Talbot doesn’t look anything like Desi Arnaz, but he does sound somewhat like Florez, especially at the top of his range), and les trois cousines were lovely, too, when they weren’t forced to perform unattractive stage business. I felt a little like the way I reacted to the Met’s recent Sonnambula: We waited a half century for this to be played again in New York, and THIS is what we got? Still, hearing Offenbach’s score was sheer bliss, no complaints there; as far as the humor--or lack of it--goes, all I can say is chacun a son gout.

  • Vergin Vezzosa

    I found the Perichole trailer posted above (“Madcap Comic Opera”) to be a total turn-off. Will pass on this one.

  • Amnerees

    I guess we should say anything we can to boost the fortunes of City Opera, but I agree (without going into detail) with Almavivante and Herva Nelli. I felt sorry for the singers, many of whom had fine voices. This was the worst, most ridiculous, most ineptly directed performance of an operetta I have ever seen. Period. The audience the night I was there (Saturday) only gigled nervously and complained that they couldn’t understand all the manic activity on stage. Someone should stop Alden and Burdette before it’s too late.