Cher Public

That’s entertainment!

The cher public are invited to nominate non-comic operas suitable for a gala performance according to the conditions specified above.

  • NineDragonSpot

    Georg Friedrich Haas, “Thomas”.

    Just slap the year “2017” or (“2018”) on the body of the dying patient.

    • NineDragonSpot

      While we’re on the subject of dim-witted music journalism, here is today’s NY Times:

      “Laudably, Juilliard ruled out the easy options of Chinoiseries — gongs and zithers and the like…”

      “Yet if the instruments are Western, there are still glimmers of what could be called distinctively Chinese qualities about the music on these programs. Some make references to traditional Chinese melodies, some to Chinese aesthetics or ideas — pentatonic scales, for example”

      Got it? Gongs and zithers, perfectly fine instruments with important roles in Chinese traditional music, are dismissed as trivial “Chinoiserie”, while traditional Chinese melodies and pentatonic scales are -- by some mysterious process of gringo transubstantiation -- acceptably tasteful.

      Is Jacob Dreyer usually this moronic?

    • NineDragonSpot

      “Orfeo” (all of them, Katie) would perhaps be more conventional choices.

  • La Clemenza di Tito would seem to fit the bill. However it should be remembered that including a transgressor in a play or opera does not constitute a blanket approval of the transgression. Macbeth does not promote regicide any more than Tosca approves of a sexual predator. Many works can be considered cautionary tales.

  • grimoaldo2
    • grimoaldo2

      Even better-
      “Handel composed it for the London celebrations of the marriage in 1736 of Frederick, Prince of Wales, eldest son of King George II, to Princess Augusta of Saxe-Gotha. The first performance took place on 12 May 1736 in the Covent Garden Theatre. It closed with a spectacular display of fireworks which was highly popular with the royal family and the London audience…The celebrations for the royal marriage at the end of the piece with an onstage fireworks display created a sensation. Poet Thomas Gray wrote to Horace Walpole:

      …(in) the last act…there appears the Temple of Hymen with illuminations; there is a row of blue fires burning in order along the ascent to the temple; a fountain of fire spouts up out of the ground to the ceiling, and two more cross each other obliquely from the sides of the stage; on the top is a wheel that whirls always about, and throws out a shower of gold-colour, silver, and blue fiery rain”

  • H_Badger

    Tannhauser, perhaps?

  • How about Gotterdamerung? Talk about out with the old, ring in the new …

  • Lisa Hirsch

    I roll my eyes at Greg (“Make classical more like pop”) Sandow, as usual.

  • Camille

    How about reviving regicide as a fun pre-party entertainment? There’s always that laugh-fest Maria Stuarda, for starters, or how about giving that good times girl Anna Bolena this time, in fairness and as equal opportunity?

    What politically correct patent nonsense.

  • Scania Opus

    Lady Macbeth von Mtzensk, Bluebeard’s castle.

    Maybe also Peter Grimes.

  • Jorale-man

    A more interesting approach that either dropping Tosca or saying “love it or leave it” would be to produce it in a way that calls attention to its 19th century attitudes and explores them in a thoughtful, engaging way. Modern theater directors have tackled the problematic aspects of Shakespeare’s “Merchant of Venice,” for instance. Even the film “Birth of a Nation” can be watched for its innovative cinematic techniques while at the same time condemning its racism. There would be very few operas left if companies only featured ones whose moral compass is set to today’s times.