Headshot of La Cieca

Cher Public

  • La Cieca: You mean, the whim was to try to do anything at the Met without first running it by Jimmy’s... 9:27 PM
  • Quanto Painy Fakor: I understand your point, but I think the whim was to have accepted the relocation of the... 9:20 PM
  • Quanto Painy Fakor: These days, especially in concerts in huge venues, several celebrated singers have taken... 9:18 PM
  • mercadante: Great selection! There were some very unexpected choices. One of my favorite Mad Scenes, which... 9:12 PM
  • La Cieca: But none of those issues were raised. Levine said “it might affect the woodwind... 8:58 PM
  • Quanto Painy Fakor: Furthermore, during the broadcasts and telecasts, with the box in it’s usual... 8:54 PM
  • La Cieca: And all this affects the woodwind balance how exactly? 8:51 PM
  • Quanto Painy Fakor: The MET has tried various configurations of the pit – especially for the Mozart... 8:48 PM
  • La Cieca: “Queeny̶ 1; in this context means “faddish and unthinking,” the sort of... 8:42 PM
  • 98rsd: It may be a cliche, but “queeny̶ 1;? That just seems like a gratuitous insult. 8:39 PM

Just a cold and lonely lovely work of art

“Joined by the Collegiate Chorale Singers, Leon Botstein and the ASO perform perhaps the most popular German opera ever to have sunk into obscurity!”

20 comments

  • Will says:

    Botstein does have a knack for taking these overlooked scores and making something significant of his revivals of them. Any project that will explore a neglected, potentially interesting opera is OK by me.

  • Krunoslav says:

    So who will fill the footsteps of Brazilian-German creatrix Hedy Iracema-Brügelmann and (the Met’s only exponent) Barbara Kemp?

    Deborah Voigt has done concerts of rare score with Dr. Botstein before..

    Christine Libor?

  • m. croche says:

    Oh man, “Mona Lisa”? I saw it once at the Wiener Volksoper. Guess what -- you can’t see the woman’s oft-mentioned enigmatic smile if you sit back any further than the third row. I remember the music as being rather undistinguished, the final act as quite silly. On top of it all Max von Schillings was a nasty, Nazi shitheel.

    • papopera says:

      Being a Nazi has nothing to do with this opera. Try it again, its a rich sumptuous score, I love it.

  • Camille says:

    Ten or more years ago I overturned this work @ NYPL and dutifully slogged home with the score and some recording from somewhere. There was not a lot to love. An hysterical scene toward the end for the purported “Mona Lisa”, but there is a very nice little duet für Mann und Weib, a recording of which is made with Inge Borkh and Alexander Welitsch, which is sfortunatamente, not on YouTubers. Pity, as it was about the best part of it.

    This gets my hopes up that Dr. Botstein will one day bring us home Die Könegin von Saba, of K. Goldmarck, one of the only stones left unturned by him at this date.
    So, there’s hope!

    • Krunoslav says:

      I’m waiting for Karel Weis’ “Der polnische Jude- a real schonda ( not SCWHWANDA) apparently.

    • danpatter says:

      There was a fine recording of the Goldmark opera made back about 1980, with Siegfried Jerusalem, Klara Takacs, Veronika Kincses, et al., under Adam Fischer. It was quite good, overall, and I enjoyed listening to it for years. It’s certainly time for another!

    • m. croche says:

      I half-remember Botstein has programmed Goldmark’s symphonic works in the past. I can’t imagine why he hasn’t given Die Königin von Saba or Das Heimchen am Herd a go, since it would seem to be right in the middle of his strike zone.

      I would also think Milhaud’s Christophe Colomb would be a natural for him -- a significant opera by a first-class composer and a love-him-or-hate-him librettist which was first fully appreciated in Germany. Perhaps that will be saved for some future “Poulenc and his World” festival.

      If I ran the circus, I’d choose Marij Kogoj’s “Crne Maske”, with follow-on concerts featuring music by Alois Haba and some of his pupils (Slavko Osterc, Ljubica Maric, Viktor Ullman, Dragutin Colic, Necil Kazim Akses and Milan Ristic), with perhaps some extra chamber music concerts featuring music by the collection of emigre composers known as the “Ecole de Paris” (Martinu, Tansman, Harsanyi, Mihalovici and Alexander Tcherepnin).

  • Don’t get me wrong: there’s tremendous things in Queens. http://www.studiolo.org/Mona/images/Freshman07.jpg

  • MontyNostry says:

    If Wikipedia is correct, maybe this is a reason why Schillings has fallen into disfavour:
    “Max von Schillings was an opponent of the Weimar Republic and a declared anti-Semite. The expulsion and exclusion of important Jewish and free-thinking artists from the Prussian Academy of the Arts began during his time as President -- some artists affected were Käthe Kollwitz, Heinrich Mann, Ricarda Huch, Alfred Döblin, Thomas Mann, Max Liebermann, Alfons Paquet, Franz Werfel and Jakob Wassermann. He laid off Arnold Schoenberg from the teaching staff of the Academy, in contravention of Schoenberg’s contract and in 1933, he ordered Franz Schreker, the leader of masterclasses in composition at the Academy, into early retirement.”

  • Ilka Saro says:

    LHOOQ