Cher Public

Alla pompa che si appresta meco, o schiava, assisterai

kirstie“The celebrated ‘Triumph’ scene… borders on homoerotic porn with its masses of buff extras in skimpy uniforms. (The Met then immediately loses the gay audience when the spoils of war are revealed to be no more impressive than the merchandise of a Kirstie Alley-era Pier 1.)” [Observer]

  • grimoaldo2

    “Marco Armiliato, the Met’s equivalent of that guy you know who can grout an entire bathroom for $200, conducted (Aida).”
    lol
    “Donizetti’s La Favorite, which was streamed live from Munich…(the three leads) were on fire”
    Yes, they were fantastic. The five of us in the chatroom loved it (the five “speakers” that it, don’t know what the up to 15 “viewers” thought).

    • And Armiliato is conducting just about every performance for the next two weeks…

  • DonCarloFanatic

    Sorry I missed La Favorite. Is it available anywhere?

  • almavivante

    Although I do like this production, the casting is so lackluster that I am waiting until the spring to see Stoyanova and Moore sing Aida. Now, they should be interesting!

    And apropos La Favorite(a), in this age of star mezzos, why is the Met waiting so long to revive it? Not seen on this stage since they borrowed SF’s production for Pavarotti and Cossotto, something like thirty-odd years ago.

    • Porgy Amor

      Verrett, perhaps? There was a 1978 series with her, Pavarotti, Milnes, and Giaiotti, and then a less starry group for the tour, but I do not see record of this being one of Cossotto’s Met roles. She and Pavarotti did sing the opera together elsewhere.

      That new Munich production had things I liked and did not like, but was musically superb (Chichon’s conducting too), and stage-wise miles above the drab Samson co-production that will showcase Garanca and Hymel. But that title is probably set in stone, as it will be the one hundredth anniversary of the famous Armistice Day opening night with Caruso and Homer under Monteux. I was just getting wistful this morning over Max Smith’s gorgeous account of same, which can be read in full at the Met’s archival site. It was nice to read it in the week’s circumstances, as a reminder of things worth holding onto (“It was real patriotism — love of folk and country, of our glorious past, of our institutions, our aims and aspirations; not the lust for blood, for conquest, for vengeance — that swept over the mighty assemblage […]”).