Headshot of La Cieca

Cher Public

  • antikitschychick: Querido marshiemarkII: Por supuesto!! Y gracias por la corrección :-). I wrote that rather... 1:34 AM
  • marshiemarkII: I was at the Met this summer and someone mentioned that Donald McIntyre had just done one of... 12:52 AM
  • Buster: James Rutherford was a fabulous Mandryka in the Loy Arabella, conducted by Marc Albrecht. First time... 12:48 AM
  • marshiemarkII: Fully Seconded Gualtier!!!!!, his Wotan with the sublimest Brunnhilde will never be equaled... 12:47 AM
  • Buster: Or Dagmar Schellenberger, if they can get her to learn the Pony-Lied and “O mein Papa”... 12:41 AM
  • meowiaclawas: Bravo, Gualtier!! 12:35 AM
  • marshiemarkII: Vallky querida how sweet of you, just came back from a Fiesta del Dieciocho at the Instituto... 12:30 AM
  • Quanto Painy Fakor: Yeah, here’s a Tasashi for ya http://s1.ibtimes. com/sites/www.i... 12:17 AM
  • marshiemarkII: My adored Milady, I had a copy of the DEMENTED Maggio Musicale on Hunt for many years and it... 12:16 AM
  • meowiaclawas: Clita, this is absolutely bizarre – your opinion on the list of singers (Callas,... 12:15 AM

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?”

45 comments

  • 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.