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


But surely it only feels that long?

Fledermaus ballet photo: Ken Howard/Metropolitan Opera


  • Satisfied says:

    Reviews and comments on this board have either been harsh or blah. I double booked this and Anna at LPR on the same night, but planned on changing my date to the last performance of the run.

    …even worth it?

  • Pelleas says:

    The confirmation email I received on Friday actually told me I was attending a November performance of Frau ohne Schatten instead of tomorrow’s Falstaff, so something’s buggy with their system.

  • Chanterelle says:

    I liked Christof Loy’s FLEDERMAUS at Frankfurt in 2011 — the forced quality of the revels is intentional, and the Eisensteins do split at the end. Far more interesting than this laff-track vulgar mess

  • RosinaLeckermaul says:

    I wouldn’t call this production of FLEDERMAUS a train wreck. It’s a mixed bag. The first act doesn’t sag at all. Fabiano is hilarious. The musical numbers in the second act are staged and performed very well, but there’s too much dialogue. The Garson Kanin-Howard Dietz production wisely began with Falke in from of the curtain briefly and wittily giving the back story. Once that was in place, the production could move along with only necessary dialogue. This production has too much talk and the translation of the lyrics isn’t as good as the Martin or the Dietz versions, which admittedly aren’t great but are serviceable. I was relieved that it was all in English — hated the old half German, half English production. This production is an improvement over that one.
    No one in this cast had a sense of Viennese operetta style. I would have liked a better singer and actor than the bland Maltman as Eisenstein. Anthony Roth Costanzo carried the second act. Afraid I didn’t stay for the third. The second act ended at 10:30 and I can’t bear Frosch’s schtick, even when done by a good actor like Danny Burstein.