Cher Public

Dead nacred

La Cieca (not pictured) surrenders, cher public: she can no longer bear the burden of opposing ignorant, hysterical pearl-clutching on the internet. The clutchers have won.

It started a couple of days ago, when a friend of the box (who shall remain nameless for his own safety) posted, purely as a goof, a link to an antique news article about what looks to have been a rather lousy production of Un ballo in maschera in Erfurt in the spring of 2008. (Remember? That was in the middle of the Obama/McCain campaign.)

Longtime readers of may recall we discussed that show at some length way back then, and it’s even made a cameo appearance in the prospectus for the “New York City Opera Renaissance” as example of the ooga-booga Peter Gelb is plotting to ram down the throats of decent God-fearing New Yorkers, so you should give us money.

But now, suddenly, in 2015, whole phalanxes of internet worrywarts have seized upon this story so violently they seem to have missed the bit where the datestamp says “2008” and we’re off and running with The Emperor’s New Clothes and Verdi spinning in his grave due to his intentions and why don’t they write their own opera… and the whole foofaraw.

I give up. You can’t help people who are willing to lay down their lives to remain ignorant. Let the universe crumble, let there be pearl-clutching in the streets. I just don’t fucking care any more.

  • My sympathies, Cieca adorata.

    • Fidelia

      The w

      • Fidelia

        The way to true wisdom.

        Just keep on truckin’

  • olliedawg

    Oh, my, the universe as we know it has come to an end…La Cieca throws in la scarpa? Say it ain’t so, girl!

    • manou

      No -- she throws in l’asciugamano.

      • olliedawg

        manou, yes, le mot just, yet I picture La Cieca all wrapped up in a fabulous scarf a la Isadora — minus the Bugatti, naturalmente — tossing it back and around her neck with all the style of Mary Tyler Moore.

        • manou

          Dearest olli -- a “scarpa” is a shoe. A scarf is a “sciarpa”.

          But yes indeed, I see exactly what you mean. I can picture it in my mind now.

          • manou

            (P.S. and a Scarpia is a very bad man)

          • olliedawg

            My italiano (and spellchecker) needs a scrubdown with l’asciugamano ;-) Thanks for the correction. And, yes, indeed, Mr. Scarpia is a real dickhead (but get some fine stuff to sing while behaving in a most dickheaded way).

            • manou

              Il Sig. Scarpia è una testa di cazzo.

  • la vociaccia

    Some people aren’t worth saving. Don’t let it tear you up inside. Continue to love what you love, give a voice to the artists you believe are worth being promoted and encouraged, and ignore the ones you don’t.

  • Quanto Painy Fakor

    I don’t know if someone already posted this, but recently in San Francisco, Francesca Zambello made two home runs in the press:

    “To a question about the ‘relative crisis in opera … with the collapse of the New York City Opera and the fact that the Metropolitan Opera is throwing out storm signals like hurricane flags,’ Zambello retorted: ‘They shouldn’t be doing that.’ ‘If (Met general director) Peter Gelb wants to go around and say so many negative things about an artform that we love, cherish, and manage to sell tickets for, then he should learn to keep his mouth shut,’ Zambello added.”

    • Or, as we would say in English, “Peter Gelb won’t hire me because my productions are invariably cheap-looking half-baked crap. Phooey!”

    • a joint call for a return to opera that is “understandable for the audience” as opposed to “modernism” and “music torture.”

      Boy, that article really makes Gockley, Zambello and Luisotti sound like a pack of knuckle-dragging philistines.

      • Zambello is apparently conniving to get Gockley’s job once he retires or more likely drops dead. Knuckle-dragging philistinism plays well in San Francisco, so expect her to drag knuckles with the best of them.

        • Well, the Bay Area does have a reasonably vibrant new music scene (with the caveat that the current real estate bubble is quite disruptive for many artists).

          While the SF Symphony is not nearly as sophisticated as the LA Philharmonic, they have undertaken some decent initiatives under MTT: Stravinsky, the American Mavericks series, Gubaidulina, etc. They will do Berg and Schoenberg, and they will perform interesting contemporary works (though MTTs taste in contemporary composition seems to me pretty unreliable).

          This is all light-years ahead of the SF Opera as it is currently constituted, which has become a uniquely backwards sort of place in the Bay Area’s cultural life.

          • le cerf agile

            Even though I no longer live in the Bay Area (sob…), the SF Symphony and SF Opera are relentless in calling and mailing me. Very little about their seasons piques my interest, although I keep waiting for an announcement of the inevitable cross-Grove synergy of a Mason Bates opera….

            • I keep waiting for an announcement of the inevitable cross-Grove synergy of a Mason Bates opera…

              You are delightfully wicked, cerf.

            • I will personally tear my hair out in the War Memorial orchestra pit if Bates gets commissioned.

              SF Opera has at leased managed a fair number of commissions in the last 20 years, quite a few more than the Met. They have been of variable quality but the best are excellent.

          • SFS’s program has been getting worse and more boring over the last decade. Remember, this year we’ve got a wonderful BEETHOVEN festival to cap the year. And next year doesn’t have any kind of festival, just a lot of Schumann and Sibelius, plus “music from rarely-heard operas,” not including a single aria.

            On the basis of what MTT was doing 15 years ago, the orchestra continues to talk about all the risks it takes, but honestly, it doesn’t.

            • “programming,” not program, obvious.

            • I took a look at the upcoming season for the SF Symphony -- you and cerf do indeed have a point. Dreadful, dismal.

      • Indiana Loiterer III

        And complaining about dissonant “modernism” in 2015? What American composers could they be complaining about? Elliott Carter is dead, and Charles Wuorinen isn’t getting any younger…Really, big-house American opera--Floyd, Heggie, et al--is if anything neoromantic to a fault; even the grudgingly admitted exceptions--Adams, Glass--are minimalist and very tonal. It’s almost as if one were to complain about all the Commies on the staff of Fox News.

        You know when I was complaining about the stodginess of American opera earlier? This is just what I mean.

        • Eh, I think it’s useful to make a distinction between “American opera” and what SF Opera has been doing lately under the Gockley regime. Some of the pallor of recent seasons can be attributed to the Great Recession, but some responsibility also lies with Gockley’s taste, which seems to have grown more decrepit with the passing years. The decision to stage Gordon Getty’s piece of shit is good indication of how far SF Opera has debased itself.*

          If Janos Gerberen’s article is accurate (not a given -- journalists do garble things), then Gockley, Luisotti and Zambello have outed themselves as philistines of the first order, unfit to lead a major cultural institution. They’re not conservative thinkers, they’re closed-minded ones.**

          * SF Opera’s marketing and fundraising teams have also left me with a sour impression.

          ** That said, I’m hopeful that the planned staging of “Dream of Red Mansions” by Bright Sheng will be a success. Of the Chinese-American composers of his generation, Bright Sheng is perhaps the least edgy, but his works intelligently integrate different musical cultures. “Dream of Red Mansions” is a fantastic novel, and it has already been mined for countless operas in China. San Francisco Opera could certainly benefit from an Asian pivot. One hopes that the critics this time around are more worldly than when they were dealing with Tan Dun’s “The First Emperor”.

          • vilbastarda

            The article is quite accurate. The full press conference is here: for seeing the context for the quotations.

          • fletcher

            I’ve never been to SFO before but I’m heading up there in a few weeks for Les Troyens which I’m pretty stoked about. They’re also bringing in Bieito’s Carmen next summer. Is it really that conservative? Versus what, Chicago?

            • Satisfied

              SFO’s programming is world’s better than the Lyric. That Les Troyans (which I will also be attending) is one of the best cast I have seen in recent memory. I’m also very much looking forward to seeing Anna Caterina Antonacci in La Ciociara this summer. Jen?fa with B?lohlávek, Byström and Mattila also looks really exciting next summer, along with the American debut of Bieito (in opera at least), and that fabulously cast Don Carlo.

              Chicago’s 2015/2016 season, on the other hand, is an absolute borefest.

          • SFO has already had a disastrously bad Asian pivot opera, the dreadful Bonesetter’s Daughter, with forgettable music by Stewart Wallace and a terrible libretto by Amy Tan. It had one good scene and alas was the last appearance by the late Zheng Cao, a wonderful singer.

            I heard some excellent chamber music by Bright Sheng a few years ago, so I have some hopes for the music.

            • Stewart Wallace? Not much of a pivot, I’d say.

            • It was specifically aimed at the Chinese community in SF. And it was terrible.

            • With a composer who speaks no Chinese and thus had no previous experience with Chinese music? Poor aim, I’d say.

            • DonCarloFanatic

              “But I can fake it.”

            • I didn’t realize this was a thing: “Fate! Luck! Chance!: Amy Tan, Stewart Wallace, and the Making of The Bonesetter’s Daughter”. Has anybody read it?

            • manou

              Is it good value at $0.01?

      • Quanto Painy Fakor

        All I ever get from observing Luisotti is a sense of possible narcissim.

        • Often admonished


        • He is a very good conductor in, alas, a limited repertory: Verdi and Puccini. Even there, he’s variable within a run. He was asleep at the wheel of the last of a run of Otello a couple of years ago (the production was also hampered by the general dramatic blankness of Botha and utter lack of chemistry between him and the soprano). I also caught the last of a run of Cosi fan tutte that was the worst-conducted Mozart I’ve heard in a major house. He took a shot at Salome (terrible) and Lohengrin (more acceptable but tentative), and, well, I hope that’s the last we’ll get of him in German music.

          Note, also, that in 2014-15 and 15-16, he’s conducting only three operas each year. Runnicles usually took about half the season.

          Yes, you could say I miss him. Very glad to have him in the house for Troyens and hope he’ll be doing some German opera in the future.

          • Luisotti also conducted “Salome” at the Teatro Comunale di Bologna in 2010. The artistic director of the Teatro Comunale at the time was … Marco Tutino. Coincidence!

    • phoenix

      EL Zambo is going after the (now) small-fry SFO??? Looks to me like el she would prefer, in addition to the Washington (DC) Opera, another of her ‘Artistic Advisor’ gigs with an even larger paycheck in the mail from at Met. Isn’t her ‘name’ enough to make the Board go ga-ga-ga? Tolerating her cheezy, unimaginative productions is nothing compared to putting up with the tired casting in her shows.
      -- Sorry, but I have retired -- and don’t have Facebook, Twitter or any of the social media sites. I’ll have to take your word for it that dowagers are now trading in their chains for pearls.

    • Batty Masetto

      It’s disappointing that SFO has gone from programming that included St. François d’Assise, Le Grand macabre and Doktor Faust to the current situation, but I also assume the panel also included a certain amount of huff n’ puff in support of Totino’s not-exactly-avant-garde musical vocabulary.

      And to give Gockley his considerable due, in spite of all the things one can and does say against him, he’s made the company more or less financially stable. We can only hope that whoever comes next will combine Rosenberg’s artistic vision with his financial savoir-faire.

      As to Zambello, I realize she’s joined the ranks of La Cieca’s favorite bêtes noires and wouldn’t dream of trying to persuade our esteemed Doyenne otherwise. I wouldn’t place la Francesca among my top picks as a director either, but I also can’t dismiss her as incompetent or a hack. I may be in the minority, but I like her Carmen. Her Ring was inventive, coherent, thoughtful and sensitive. If it lacked the absolute last degree in profundity, it was still considerably better than anything I’ve seen so far of the current Vienna iteration, and her Götterdämmerung was both more effective and less self-regarding than the version from the BSO. Her Troyens was certainly better than its predecessor. Unlike many directors, she does seem able to draw acting out of her performers. Nothing that I’ve seen of hers has descended to the routine ghastliness that Lotfi Mansouri (e.g.) was capable of. There are far worse directors out there.

      If she is indeed in the running to head SFO, I would give her a chance, though I also admit I wouldn’t be setting my expectations high.

      • Quanto Painy Fakor

        If you have an extra hour and 40 minutes you could watch this Tutino opera

        or this one

        or settle for this

      • Well, Pamela Rosenberg left SFO in poor financial condition, and Gockley has done a fine job of putting that side of things in order. I am not sure to what extent a big, expensive house such as SFO, with no government money, can support the kind of artistic agenda Rosenberg espoused. I loved her programming, but the company has to sell tickets and haul in big donations.

        I agree with you about Zambello; I’ve seen some excellent work from her, although I liked Siegfried best out of the Ring operas. Her Tristan in Seattle back in the day was a thing of beauty in many ways. i also think she might not have the financial chops for the job.

  • Quanto Painy Fakor

    Have there been comments on the Rattle Ring in Wien? Boy is he ragged and apart from certain moments, the visuals of the Reingold and Walkuere are vacilate between ridiculous and outright ugly. The young sexy Wotan may not have any voice by the time it’s over. Most of the time he looks and sounds like an Angelotti.

    • Feldmarschallin

      Will see the Götterdämmerung on Sunday if not yet melted by then.

      • Batty Masetto

        Some of us on the Left Coast will even be doing the unthinkable and rising by 7 a.m. on a Sunday(!) to view the simulcast.

        Wagner-Masochismus und kein Ende….

        • Ilka Saro

          One imagines you rubbing your eyes and asking “Welch Licht leuchtet dort?”

          • Batty Masetto

            And then Batty Hubby staggers in with a mug of coffee and grumbles, “Noch ist’s Nacht.”

            • Ilka Saro

              And here I fancy myself such a martyr to art for making it to the 11 am start time for Gtdg matinees here in NY.

      • Feldmarschallin

        Herlitzius and Kaufmann will be singing two Walküre performances in Baden-Baden next July.

        • Fidelia

          I certainly would love to see those two together. She burns up the stage and I think must bring out the best in him. Will you be going, Feldmarschallin?

          • Feldmarschallin

            Not sure yet. I have heard Herlitzius in the role many times and Kaufmann said he will sing Parsifal and Siegmund here instead of the Tannhäuser. Have no idea how will sing Tannhäuser but will see what I can find out. Also those BB performances are in the middle of our Festspiele where I usually have performances more or less every other day.

            • Lohengrin

              As I read somewhere KFV will enter the role, may be in Bayreuth. Why not in München?

            • Feldmarschallin

              Yes that is true and of all people who will sing the role according to the June Opernglas is Cura. But here I would tip for Vogt I still prefer Kaufmann since Vogt’s voice is limited and more suited for Lohengrin. It is a bit too choirboy for my taste but for Lohengrin it works well.

            • Lohengrin

              Can You imagine Romerzählung sung by KFV? But he will do it, I am sure.

          • Feldmarschallin

            I just checked the dates and have Stemme as Turandot on the 7th and Röschmann Liederabend on the 10th so those Walküre dates will not work. But I will be going to Salzburg for Walküre Osterfestspiele with Thielemann conducting.

            • Lohengrin

              Never heard about a Walküre in Salzburg. Next year will be Othello (Botha!!). Walküre 2017? Who will be in the cast?

            • Feldmarschallin

              Yes 2017. More later.

        • Lohengrin

          “My” Walküre-Ticket is already in my hands! Looking forward to listen to that great cast (except EW?)….
          I ws so sorry to have missed them in Vienna-Persifal, Jonas was ill, we had Venrtis (not so bad but not J).

          • Lohengrin

            Tippfehler, grrrrrr!
            “My” Walküre-Ticket is already in my hands! Looking forward to listen to that great cast (except EW?)….
            I was so sorry to have missed them in Vienna-Parsifal, Jonas was ill, we had Ventris (not so bad but not J).
            Somewhere in the internet there is a small clip from the only Parsifal with Jonas and Evelyn 2013 in Vienna, Parsifal and Kundry rolling on the ground, both very intersive singing and acting.

            • Feldmarschallin

              Yes true. DT will be doing the production. Personally I would have preferred KW. KW will be doing the Schreker here and am excited about that.

    • Krunoslav

      Tomasz Konieczny- “The young sexy Wotan “?

      Sexy is in the eye of the beholder, i guess. But he is 43- singing Wotan there for 4 years now. Does not strike me as remarkably young for the part.

      Wiener Staatsoper: first local WALKUERE Wotans:

      Jef Vermeersch age 43
      Theo Adam age 41
      Otto Edelmann age 40
      Leif Roar age 39
      James Morris age 37
      Peter Wimberger age 37
      Falk Struckmann age 38
      Hans Sotin age 34

      Several of them had of course sung the role at even younger ages elsewhere…

      I admit, though; his is one of those lauded Central European careers like Baechle’s that i just don’t get.

      • Quanto Painy Fakor

        Well if one considers the ugly mug Terfel had do deal with at the MET, Konieczny would warm TT’s heart. Now that you point out that Konieczny is no stranger to Wotan, it’s even more amazing that he is so cliché. Herlizius is a very scary Brünhilde, consistently slightly under pitch and shrieking. Ildiko Raimondi was the most fascinating of the Walkueres and their routing with the men during the ride was really funny. Ventris looked old and the lighting made him look terrible. The costumes are also drab and dreadful. I thought the Rheinmaidens would kill themselves on the slippery China silk, but some of the Rhein image were beautiful. I wonder how much noise the air blowers make onstage for the silk to billow as it does.

  • Krunoslav

    Cieca, do you know what’s worse than those BALLO Mickey Mouses?

    Well, I read somewhere that they’re going to stage TRAVIATA in an AIDS ward, and TANNHAEUSER like it was on a big chess board!

  • La Valkyrietta

    Coraggio! ‘Adelia degli Adimari’ is inexhaustible. I sent a friend from Boston a photo I took of the far from puritanical jacket Bergonzi wore on Ballo, on display at the Met in April, and he replied it must have been Sweeden, not Boston, but the caption said Ballo, not Gustave. Boston at the end of the XVIIth century? That jacket? Do you believe they got rid of puritanism that fast? Give dear Verdi a break! He had enough trouble with the censors. That opera traveled all over the place in Europe, then saving it with exile in America was a better solution than a vault in some convent. Anyway, I forgot the point I was trying to make. It is fun to find a bejeweled dowager during the intermission of a production of this opera set in Boston and hear her say, “This could never have happened in Boston!” If I am addressed, I could reply that it could be set in the Twilight Zone. :)

  • ggatton

    Confusion. It was just recently that the Germans were going to show New York how its done. It was stated that young people might perhaps be interested in opera if it was updated to contemporary settings. Sort of like Peter Sellars did 30 years ago. Or was it 40 years ago? Anyhow… (And don’t mention “Game of Thrones” — no young person watches that so it’s not a proper comparison. Plus it’s fantasy, not history. Duh. The young opera audience simply simply isn’t equipped to relate to a historical setting without guidance from the elite.)

    • It was stated that young people might perhaps be interested in opera if it was updated to contemporary settings.

      Nobody said that, but enjoy your confusion.

      • ggatton

        OK. Jossi Weiler was quoted in the referenced article, but does not represent everybody’s opinion.

        And indeed I apologize for being snarky, La Cieca. I didn’t really mean to disrespect you. I have been reading and enjoying your work since college. And I have enjoyed opera for over 30 years now (I am 47), and was lucky enough to see Sutherland, Rysanek, Price (both Leontyne and Margaret) and many others… Even when I was a teenager I recognized what Peter Sellars did as a gimmick…

        • That’s not what Weiler said, and then you went and piled on all that stuff about Game of Thrones and all that. And “as a teenager” I daresay you were too busy namedropping to notice what Peter Sellars was doing.

          Read the quote from Weiler again, and if you don’t understand it, I can try to explain it to you. I wouldn’t have included it in my piece if I thought it was false, and I resent your feeble attempt to play gotcha with my writing.

          And stop saying “duh.” You’re not a 12 year old girl.

          • ggatton

            “Rather than presenting operas in stage settings and costumes true to the period in which they were set, directors, set and costume designers attempt to relate the characters and stories to contemporary conditions—a practice which appeals especially to younger audiences.”

            I’m sorry, but how could this be misunderstood?

            • Okay, listen. “Relating characters and stories to contemporary conditions” does not mean “updating the sets and costumes,” but it is understandable that you would think that because most opera productions both in the US and elsewhere still function on a shallow level of surface narrative. For instance, Trovatore is presented more or less as if it were something that really happened, and the production attempts to recreate those “historical” events.

              But the sort of production Weiler is talking about and the several productions described in the article do not primarily focus on linear story-telling, but instead concentrate on evoking strong emotion through imagery that is not primarily based in realism. The Rosenkavalier, for example, is not “updated” except in the sense that some scenes seem to leap forward in time to the era of the premiere of the opera, and then back again to a sort of fantasy version of the mid 18th century. None of this is “archeological” but rather dreamlike and deliberately illogical, challenging the audience to intuit what all this paradoxical imagery might mean, as one might try to analyze a dream.

              The way this particular example “relates to contemporary conditions” is that a lot of popular entertainment, music and film and even television, deliberately avoids straightforward narrative, or at least delays “straightening” the narrative as long as possible. The audience Weiler is talking about saw Memento and Eternal Sunshine of the Spotless Mind and Babel when they were children, and since then they have seen innumerable TV dramas that mimicked the nonlinear style. So in a sense there is a kind of expectation in that audience that a worthy, important piece of dramatic art is going to be somewhat elliptical and possibly oneiric. It’s not going to be about “telling the story” but about something less linear than that.

              That’s my takeaway, and you can buy into it or not. But it’s immensely different from how you were interpreting what Weiler said, which was that he was looking for nothing more than swapping a linear narrative in period dress for the identical linear narrative in modern dress.

  • gironabalie

    “It was stated that young people might perhaps be interested in opera if it was updated to contemporary settings”

    Why do so many think of opera strictly as narrative? It is through music that almost everything happens in opera.

    • Nobody said that. Nobody thinks of opera strictly as a narrative. You are the one being reductive here.

    • Bluebeard

      But this is the problem when thinking about opera as being set in either “traditional” or “contemporary” settings, isn’t it? There’s no such thing as a traditional setting because the question of “which tradition” automatically arises when it comes to all theatrical production. When one looks at the sketches of the original designs of an opera like Elektra, you’re dealing with a production of a von Hofmannsthal play that goes out of its way to destabilize traditions of Aristotelian theater even within an apparent adherence to tradition. That tradition manifests itself in different ways over the years. Chereau’s modern-dress Elektra is as potent a work as any I’ve seen. Over the century since, have there not been new ways of considering this type of theater? In many ways, Cieca’s review of Herheim’s Serse highlighted these problems of thinking of opera production as traditional or “contemporary.” There is no one traditional mode of thinking in the same way as there is no one contemporary in performance tradition.

      The thing that does bother me is the ownership felt by certain members of audiences. I speak to certain audience members everyday who criticize the Decker Traviata as a travesty to Verdi’s original intentions, yet these are often the same people who will hail the Met’s Lady Macbeth of Mtsensk, which, I’m sorry, is an even more drastic reimagining of Shostakovich’s opera (far less faithful to the text than the Decker Traviata, I’d argue). I can’t say that I like that production very much (it’s so busy that you tend to forget Katerina within it all), but what I don’t like is how the same audiences that take pride in denouncing displaced interpretations of Verdi and Wagner can take so much pleasure in the very stagings of which they are afraid of accepting. It just feels hypocritical.

      Certain operas are probably harder to reimagine or accept as reinterpreted. I respect any director who tries to do something different with Tosca, but it’s hard to think of one production that really does something different effectively (maybe the Carsen?). Other operas like Rosenkavalier naturally demand a certain sense of nostalgia for the way things once were, as that is the very subject it explores. As much as I loved the Met’s old Rosenkavalier, I associate it with my first memories of Fleming’s Marschallin and therefore love it. But the problem is that we form this silly dichotomy between contemporary and traditional. One singer once said that the thing she misses from opera productions today is the sense of fantasy. This was something that I’d never considered, but I respected that idea. I think the best directors set a production that sets an audience member’s mind alight, and there is no one mode of thinking that will always do this. It is always a diversity of production. So sure, bring on Girard’s Parsifal, Herheim’s Serse, and Tcherniakov’s Igor, but I’d also like to keep Dexter’s Billy Budd, Moshinsky’s Ariadne, and even Zeffirelli’s Turandot! For now, at least.

      • I mostly agree with you, though I am increasingly allergic to productions “directed” by dead people. Even the Chereau Elektra makes me nervous, though I am sure that the associates who recreate this production in New York were very close to the late director and presumably have been given the freedom to improvise whatever changes are deemed necessary to set the piece on singers with different emotional qualities from those in the original staging.

        • Feldmarschallin

          And even more so that the protaganist whom he himself directed will not even be singing the main role.

        • Indiana Loiterer III

          … I am increasingly allergic to productions “directed” by dead people.

          Yes, but that’s a question of bureaucratic organization rather than aesthetics, isn’t it? (Though the two can go hand in hand--certain types of highly spectacular if static productions do lend themselves to being “revived” season after season even posthumously by the more bureaucratically inclined companies.)

  • redbear
  • redbear
    • blansac

      This is great news. Very very exciting. While it would be nice to see him at the Met, this position may allow him a degree of freedom and creativity he wouldn’t necessarily have at Lincoln Center.

    • redbear

      His tenure at the Holland Festival brough us Wagner Dream, an opera by Jonathan Harvey, and one of the most profound and engaging contemporary operas I have heard. The final days of Wagner featured a nagging wife very aware of what his new young soprano “student” means and even his encounter with Buddah himself. In the Holland Festival production, the orchestra was in the middle of the scene with the action around. It is still vivid in my memory.

  • mirywi

    The MET OPERA HD Fan Facebook page is just onto this antiquity now. Nobody there has seen the show but many have thoughts about it.

  • Buster

    Luckily not all Evas are banned from Bayreuth this year. Eva Lind makes her Bayreuth debut in August: