Headshot of La Cieca

Cher Public

  • pasavant: Verizon did not build the theater; they bought the naming rights for $14.5 million dollars in cash,... 3:25 PM
  • Satisfied: I can’t remember the last time the Met canceled a performance. Did they cancel during Sandy? 3:24 PM
  • Camille: I guess the Will of the Ukraine People is mighty enough to close down the first night! There will be... 3:22 PM
  • DeepSouthSenior: Brrrr. Down here in our humble abode, through the weekend Mrs. DeepSouth and I are facing a... 3:18 PM
  • Camille: Here is sopranist Maniaci to explain himself in his own words and to tive further proof in his... 3:17 PM
  • Jamie01: My parents were there in Philadelphia when most of the orchestra couldn’t make it because of... 3:01 PM
  • Dabrowski: I want another one of these. 2:58 PM
  • Camille: Noted, and indeed highly of interest and a. Ery rare case. He is then, uniquely, a true sopranist?... 2:55 PM
  • Camille: Herr Hans! You are so good and kindly indulgent to take such trouble with explaining the... 2:47 PM
  • Camille: Thanks very much pasavant and I shall bookmark and keep this information safe as a handy reference.... 2:30 PM

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 »

Read more »

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!” 

Read more »

Read more »

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.)

Read more »

Read more »

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. 

Read more »