Cher Public

Love it to death

Mariusz Trelinski will direct Tristan und Isolde for the Metropolitan Opera in a production that will premiere there on opening night 2016. (The image is from Trelinski’s production of Krol Roger at the Edinburgh International Festival, photo by Marek Grotowski.) [New York Times]

  • And Stemme as Isolde! Some would say La Cieca is burying the lead. But this is good news all around.

    • Satisfied
      • Thanks! And from a link in the article, I learn something else which has apparently been known for a long time, but which is new to me: That Scalia has more adventurous tastes in opera staging than Ginsburg. I suppose we shouldn’t be surprised, as Corey Robin has said: “A devotee of opera and hunting—“he loves killing unarmed animals,” observes Clarence Thomas—Scalia likes to cut a Medicean profile of great art and great cruelty.”

        • antikitschychick

          OMG seriously, that last bit was too funny. They can’t ever agree on anything those two…at least not in any of the the SC cases I have to read lol.

          • operaassport

            They don’t agree on the court but are great friends in life, the closest relationship on the court. It’s a lovely example for us all.

            I find that whether one likes traditional stagings or is open to new ideas when it comes to opera rarely follows political lines. I know many conservatives and libertarians who love edgy stuff and many liberals who want only the most traditional of stagings. You never know. I bet we’d find the same thing here.

            • antikitschychick

              Very true and well said. Plus, art can evoke very visceral and instinctively primal emotions and corporeal reactions which sort of precede or supersede our intellectual reactions.

  • Satisfied

    I was wondering (and hoping) throughout last night’s performance when the Met would bring Trelinski back. And sure enough: they did…and a lot sooner than Chéreau, Kentridge or Tcherniakov.

    I do hope that Decker’s health issues are resolved quickly and wish him a speedy recovery. I am certain his Met production of Tristan would have been amazing.

    Some evidence to support that last statement…

    • Re: Chereau. I was watching his Elektra DVD and noticed that it is a co-production with the Met (among other companies). So, the production is coming to the Met, though sadly without Chereau at the helm.

    • Hippolyte

      Having seen 3 of Kentridge’s opera productions (The Nose, Zauberflote and Ritorno d’Ulisse in Patria), I wonder if he’s a bit of a one-trick pony. I’m still curious, however, to see what he’ll do with Lulu.

      • Satisfied

        kashania:

        Yes, I am aware and very excited about seeing the production next season (with Stemme no less! Though I would have loved to see Herlitzius as well). And yes, sadly without Chereau, but thankfully much of the same cast involved in Aix will also be involved in New York. I’m sure they will do Chereau justice.

        Hippolyte:

        I can see what you’re saying, but I am consistently wowed by his work. I saw the first two productions you mentioned, along with his Winterreise in Aix…I was floored by all. I was equally impressed by his exhibitions at MOMA and the Marian Goodman Gallery as well as his “The Refusal of Time” at the *other* Met.

        I’m confident that his Lulu will be quite the New York cultural event next season.

      • operaassport

        I wouldn’t call Kentridge a one trick pony but rather one who has consistency of style. He’s a painter, after all, and like Monet or Matisse or de Kooning you can spot his work a mile away. I think his productions are never less than compelling. He took something like The Nose — which I never thought I’d like — and turned into a great theatrical experience that I loved.

    • antikitschychick

      I second your well wishes for Mr. Decker; was looking forward to his production of Tristan & Isolde and I hope they’re able to get him on board for something else. Mr. Trelinski seems like a sensible replacement though. Guess we’ll find out soon enough!

  • redbear

    Just learned today that Chereau was supposed to do the Moses und Aron for 15-16 just announced in Paris. Romeo Castellucci is now directing it. The next season, finally Lissner’s own, is not your father’s Paris Opera.

    • Satisfied

      Speaking of which…just noticed this.

      http://saison15-16.operadeparis.fr/pdf/OnP-BRO-SAISON-STD-bd.pdf

      Some really exciting stuff…not your father’s Paris Opera, indeed!

      • spiderman

        Edda Moser is doing the “Narr” in Lear in a production of BIEITO???

        WHAT?

        • Feldmarschallin

          I was looking at that too and that can be combined with Harteros Rosenkavalier and Yoncheva Violetta so not a bad time to go to Paris.

          • Fidelia

            Feld : It’s a date!

  • Don_Dano

    Is the tenor singing Tristan up for the role at the MET?

    Heard her Isolde twice in Houston, and as expected it was phenomenal.

    • la vociaccia

      meh. He’s ok

  • aulus agerius

    Didn’t I read on PB that Ewa Podles was appearing at Caramoor this summer in Dialogues? Perhaps it was somewhere else as she is not listed now.

    • Chenier631

      Ewa Podles was indeed announced as singing the Old Prioress in Dialogues at Caramoor this coming summer. Her name is now absent from the cast list.
      The only mezzo listed is now Jennifer Larmore, but the Caramoor web-site doesn’t list who sings what role, so she may be Mere Marie.

      Chenier631

      • Krunoslav

        Gotta be this for 7/25 at Caramoor

        Hei-Kyung Hong, soprano BLANCHE
        Jennifer Larmore, mezzo-soprano MARIE
        Jennifer Check, soprano LIDOINE
        Sarah Coburn, soprano CONSTANCE
        DE CROISSY- TBA
        Noah Baetge, tenor CHEVALIER
        Daniel Mobbs, bass-baritone MARQUIS

        Meanwhile, their 7/11 date, formerly Rossini’s OTELLO with John Osborn, has morphed into another great opportunity to hear Stephen Powell;

        LA FAVORITE

        Clementine Margaine, mezzo-soprano [New York debut]
        Scott Quinn, tenor
        Stephen Powell, baritone
        Daniel Mobbs, bass-baritone

        • Gualtier M

          Hmm… casting suggestions for Mme. De Croissy???

          Also, I sent Crutchfield e-mails suggesting “La Favorite” which he said was on his list. He clearly moved it up. My casting suggestion was John Osborn or Michael Fabiano as Fernand and Jamie Barton as Leonor. But this looks quite interesting though I know nothing about Scott Quinn. Jean-Francois Borras might make a good Fernand as well.

          • marshiemarkII

            Is Sheila Nadler still singing? she was fabulous when I saw her at the Met replacing someone (forgot who), but that was like 10 years back.

          • EarlyRomantic

            @Gualtier M “Hmm… casting suggestions for Mme. De Croissy???”

            Well, Cheryl Studer was engaged for the role in Klagenfurt but, alas, she is undiagnosed and has cancelled. The premiere is 12 Feb.

            In other news, Anna Netrebko replaces Elina Garanca this Sunday at Carnegie with Levine and the Met Orchestra. Program has changed too so no Berg Sieben fruhe Lieder.

            • EarlyRomantic

              Indisposed, not undiagnosed. Hate auto correct in these mobile keyboards.

        • Bluebeard

          I believe at this point in her career Hei-Kyung Hong would sing Lidoine, not Blanche. No idea what Larmore is singing because her repertoire is always surprising.

          • marshiemarkII

            Well vocally Hong was resplendent as Mimi at the beginning of this season, so don’t see why she might have any difficulties in a role frequently sung by mezzos (Ewing, von Stade). Although your point is well taken that looks-wise, she’d be more appropriate as Claudine :-) Who is Jennifer Check? any comments?

            • la vociaccia

              Glad you liked that Mimi, Marshie. I was soooo ecstatic to hear her in that earlier in the season. I was so disappointed with the tenor and when she sang her first ‘scusi’ and it landed right in my ear I was in pure bliss. In a way, it made total sense. She has been at the Met since 1984, and she just KNEW how to make that acoustic work. The whole evening her voice suspended throughout the hall.

            • steveac10

              Check is a long time Met comprimario/cover singer. She’s been there well over a decade. Outside the Met she sings light dramatic fare, mostly Strauss. She’s actually scheduled for the last Donna Elvira of the season -- which I assume is her first major role at the Met.

            • marshiemarkII

              Oh Vochachina, I agree with every single word you wrote. I first saw her as Servilia back in when? 84 or 85, opening night of the new production with Scotto, and my Q sistah were stunned how glorious he was. Then saw her a few times in other things where she was always good to wonderful! and then a huge disappointment with those Evas in 2007, it was really not good. So I was really shocked how magnificently well preserved her voice was THIS season at age 60! it was right on your ear! just as you say!
              Are going to the Iphigenie? I am getting so excited, the music is simply DIVINE!

              Steve many thanks for the info on Check, had no idea who she was, so is she the new Wendy White/Claudia Catania?

            • marshiemarkII

              ugggh typos:
              and my Q sistah AND I were stunned
              Are YOU going to the Iphigenie?

            • la vociaccia

              I hope to go to the Iphigenie! Have not decided which to go to but I will probably have to decide fast…

              Jennifer Check has been at the Met since 2001. She was/has been the perennial High Priestess/Celestial Voice since then. However she has during that time taken stabs at bigger assignments here and there -- Lady Macbeth in France somewhere, a Chrysothemis in Michigan some months ago, and Elisabeth in Don Carlos at Caramoor a couple summers ago.

              I don’t really like how her voice sounds in that video. She got good notices for it though, so it may be un’altra cosa live.

            • marshiemarkII

              I am going to both, and Bill is going Tuesday so we should all meet! You know Ying Fang got the HBF Award 2015, so I am really excited for her, but the music is just astonishing, I am listening to it right now. As I wrote in another thread, without Iphigenie en Aulide there would be no Idomeneo, Fidelio (and 9th Symphony!) and Medea. They all took the mold crafted already by divine Christoph Willibald!
              No wonder Wagner loved the score so much!!!!!!!

            • la vociaccia

              Wonderful that Ms. Fang got the award! Her Barbarina was far and away my favorite part of the Nozze telecast on PBS. Excited to hear her in person

            • Krunoslav

              Jennifer Check has done Liu at Met parks concerts.

              She has sung Lady Macbeth in Nancy, many Verdi REQUIEMS, and she was admirable in Caramoor’s DON CARLOS as Elisabeth with Larmore and Powell .

        • Chenier631

          The Otello (Rossini) previously announced for Caramoor 2015, was not to be with John Osborn, but was to be tenor Michael Spyres.

          Chenier631

  • Cicciabella

    A great thing about this production is that Rattle is conducting. I heard his Tristan live more than ten years ago and it was unforgettable.