Headshot of La Cieca

Cher Public

  • steveac10: And so it goes. Interesting that the other major player (IATSE) is actually negotiating since they... 6:09 PM
  • Krunoslav: Right, and then SUMMER AND SMOKE with Nathan Gunn before tackling NIGHT OF THE IGUANA opposite... 5:42 PM
  • Krunoslav: I don’t think anyone has ever raised questions that she was born in 1929. She may have bent... 5:36 PM
  • tiger1: Is it now we are supposed to congratulate you on your impressive wit, Melot’s YB? 5:30 PM
  • La Cieca: “Beverly Sills sang Hanna at Philly’s Shubert Theater in 1947, when she was 18 years old; she... 5:13 PM
  • Clita del Toro: And Renee’s hands are not expressive like Callas’. She tries, and maybe in her... 5:11 PM
  • Krunoslav: Is Mothra under contract to Sony? 5:09 PM
  • Krunoslav: “I’ve always known that anybody who takes on Hanna Glawari is more or less bringing her... 4:58 PM
  • Melot's Younger Brother: A friend once asked If I knew what a tribute band was and explained that it was made... 4:51 PM
  • La Cieca: But in the novel the cause is much more prosaic and therefore more embarrassing: Lawson,... 4:37 PM

Relativity

But surely it only feels that long?

Fledermaus ballet photo: Ken Howard/Metropolitan Opera

42 comments

  • 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.