Cher Public

  • La Cieca: Particularly inapposite to get all pearl-clutchy about Manon Lescaut, an opera that sort of malingered on the fringes of the... 5:47 PM
  • aulus agerius: Yeah, for some reason I’ve thought that Laddie was a cute young thing. Sexagenarian? Yikes! Oh, the shrinking... 5:39 PM
  • La Cieca: I have always thought it best that parterre writers draw a veil of mystery about the facts of their lives. 5:28 PM
  • armerjacquino: Although if he’s just entering his sixth decade he’s surely turning 51… 5:24 PM
  • laddie: sexagenarian 5:21 PM
  • laddie: Happy Birthday WCO! As a fellow sexagenerian (!) this year, I tell you, it’s not so bad. 5:21 PM
  • armerjacquino: Music has been cut from operas since opera began, continues to be cut, and always will be cut. You’re satirising the... 5:12 PM
  • aulus agerius: Why stop at updating or resetting operas to make them more relevant or interesting to present day audiences? Why should the... 5:10 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?”

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.