Cher Public

  • jackoh: Allow me to offer my .02c on your dilemma (and that is precisely what an accountant would value the following as amounting to). I... 5:44 PM
  • SilvestriWoman: Well, Mom reported that there were only 14 people at her theater in San Antonio. Usually, it’s pretty packed. 5:43 PM
  • PCally: “By the way, I can always see the Met Live in HD at home when it’s posted at Met Opera on Demand six months from now”... 5:32 PM
  • steveac10: This isn’t a typical case, but the distributor/exhibi tor split starts with the distributor getting a much larger share... 5:21 PM
  • rapt: I can’t speak to the in-house experience, but, having seen the HD, I can believe that the latter had virtues the former... 5:06 PM
  • suzyQ: DSS I didn’t see the HD because I saw the Elektra in the house. I’ve seen it twice and may go again for the last... 5:02 PM
  • DeepSouthSenior: I missed the Elektra Live in HD yesterday and am considering seeing the repeat on Wednesday night. Need some advice from... 4:32 PM
  • Signor Bruschino: Curious what the breakeven is on these broadcasts- If they split the $ with the movies, they net about $500k- 4:01 PM

A dude? Am I a dude? Madame Flora, a dude?

It’s just not true that Gian Carlo Menotti composed The Medium as an opera only because he couldn’t get Joan Crawford to do it when his libretto was originally a screenplay. But you can see how these rumors get started. I know what I’m talking about here, because I started that one myself.   Read more »

L’infelice Aragonese

Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block. Still, in a career of some eighty years’ length, he completed a dozen operas (not to mention symphonies and concertos and, as Leon Botstein explained and demonstrated at Bard, the world’s first full-length film score)—but you are unlikely to have heard more than one of the operas.  Read more »

Thirds and music

Richard Wagner told Cosima he first got the idea of composing an opera about Tristan and Isolde while he was conducting Bellini’s I Capuleti e i Montecchi starring his muse, Wilhelmine Schröder-Devrient, in the trouser role of Romeo.

Wagner said lots of stuff. Whether this bit was true or not, it was Wagner’s high opinion of Bellini (especially Norma, of course) that kept the man in the repertory outside of Italy through the dark years of verismo and Gesamtkünstwerk. Happily, the two men never met; Wagner would have tried to borrow money and you know how that would have turned out.  Read more »