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Cher Public

  • Lohengrin: Very nice “Fairy tale of Rome”, thank You Feldmarschallin! I only could add, that the... 7:23 AM
  • manou: I seem to recall that œdipe posted a spirited defence of the original Martinoty production (but I... 7:18 AM
  • Feldmarschallin: Roman Holiday It has been 25 years since I have been to Rome but was there in the 80′s... 7:05 AM
  • NPW-Paris: Re the original, this, for Parterrians’ entertainment, is what the FT’s local critic... 7:04 AM
  • NPW-Paris: It looks, from that review, as if the result of the rethink is no more successful than the orginal. 6:59 AM
  • NPW-Paris: I didn’t buy it this year. Once bitten… 6:56 AM
  • Krunoslav: Katie Couric is not just one of opera’s most celebrated sopranos, but perhaps its most... 6:27 AM
  • manou: I have often noticed that no bugs dare to venture into the Business or First Class sections without... 6:16 AM
  • Cicciabella: *expansive. Although I’m glad I caught autocorrect’ s processing of Pappano’s... 5:30 AM
  • Cicciabella: Everyone knows if you fly economy class, you catch all kinds of bugs. Commiserations to those... 5:26 AM

The Ironic Lady

Another grim narrative of the Gelb years, and one I think is generally hogwash, is that the Met has (at least in theatrical terms) lost its way entirely.  Those with a little less flair for offstage drama will at least acknowledge the success of an easily agreed upon core of imported productions that, in contrast to that alchemy or perhaps origami whereby successful theater directors are meant to be folded into successful opera directors, have actually marked a period of great creative innovation in the house.   Read more »

And no bones!

Apparently, opera fans got the bright side of the bargain: say “Macbeth” in the theater and you court cataclysm; utter the name in the opera house and, as often as not, you merely predict disappointment.  Read more »

Scenes from an occupation

There were rumors all day in the usual places, on the search string: Philip Glass, Lincoln Center, OWS.  The opera, though hypnotic, passed quickly, and Glass took a curtain call, got a hero’s welcome. Well, we thought, he can’t be both places at once. Read more »

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The sea was angry that day, my friends

It’s a sad story, really. Debussy and Maeterlinck had what the kids would call Major Drama over who was to sing Melisande (Mary Garden vs. the person you’ve never heard of) and so Maeterlinck didn’t see Pelleas until years after Debussy had died, so he never got to be like “word!” or, I suppose, “mot!” 

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Royal Hunt

Les Troyens is one of those things, or often two of those things, that should be a big event or it practically needn’t happen at all.* The keynote is grandiosity in the best way, from the subject to the musical demands (let’s include the implicit challenge of one singer performing both Cassandre and Didon—not because it happens often, but because it’s hard not to think about it simply on account of its ever having happened.)

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House of Atreus: Fall Collection

Elektra occupies a special place in the Met’s rep, in a cheap way. It’s no easier to cast than any number of things that inspire well-rehearsed refrains of “put it away for fifty years,”* and really over the last quarter century many a somber compromise has been made in casting. What sets it apart is that folks seem willing enough to lie back and think of Mycenae while Gabriele Schnaut humps the leg of Strauss’ towering score, content to soak in the piece under any conditions. 

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