Cher Public

  • luvtennis: What bothers me is that she was by all accounts and ardent Nazi. May she roast for all eternity. That said, I do love her first... 3:17 PM
  • Camille: Once again, thanks so very much for the mention, phoenix! It has just now finished and I was very pleased by this performance and... 3:10 PM
  • Hippolyte: I may not have heard quite all of them, but of Rossini’s many operas Tell is definitely one of my least favorite and the... 3:08 PM
  • Camille: For me, Madame manou is trying to simply clarify and precise the meaning of a word in a language in which she has had a rigorous... 3:02 PM
  • luvtennis: You are entitled to your opinion, but I don’t think there is anything boring in or too long in Tell. Or rather if there... 2:58 PM
  • m. croche: I enjoy Manousplaining. ‘splain away, Manou (and Batty, too). 2:53 PM
  • Cicciabella: armer and kashania both speak words of wisdom. 2:49 PM
  • kashania: With all due respect, La Cieca, not everyone feels similarly about manou’s posts. I read her plea for “civility... 2:49 PM

Something unseen

Which resurgent maestro’s instructions to the musical staff have rung out clear as a bell: “Can’t stand those operas you’ve programmed in my absence, so get them off the future schedule?”


  • Hippolyte says:

    There’s been an awful lot of Donizetti lately…..

    • sterlingkay says:

      Yup…as was stated above, LEVINE also does not like belcanto. Sutherland & Horne were never allowed to sing much of that rep at the MET once LEVINE was calling the shots.LEVINE was always trying to make Jackie into a Verdi Mezzo instead of allowing her to sing the stuff she did so spectacularly elsewhere.

      • Camille says:

        Ugh! I remember Jackie Horne’s attempt at “O don fatale”. Not pretty. Not pretty at all. I was so relieved when piccola Renata sent her packing and got thee to a nunnery.

  • Camille says:

    I can’t log in at the proper place so here it lies. I’ve watched Mo. Levine’s entire interview now and it is NOT exactly what he said about new works. Had I more time and patience to do so I’d transcribe it, but I don’t. He said, tout court, what with the Amount Of Work and Rehearsal and Time that has to be put into a brand new work, he didn’t like to see all that go to waste by putting it on and then just dumping it. It is very important that works be given a second chance, in my unhumble opinion. To find the correct interpreter, so many things can change a production.

    He is not an eloquent speaker, to put it mildly, and scattered and digressive, so it is a little hard to follow, and he did pretty much make that remark about Gatti-Casazza, previous to what he said a bit later about contemporary works.

    It appeared to me that he was constrained to make this interview and that he is neither in the habit of explaining himsell nor of being transparent to others. Or even meeting others halfway.

  • rysanekfreak says:

    I can see Levine getting upset about new productions of The Pearl Fishers and William Tell. Maybe the revivals of Semiramide and Mefistofele offended him. Maybe the Donizetti Tudor operas. Is it possible that Robert le Diable was briefly penciled in? Maybe Rienzi as well?

    I’ve reached the point where I would much rather hear those operas than another Carmen or Boheme.