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Cher Public

  • m. croche: If you can’t come up with more than two MET-worthy operas written since 1945, I’d say... 10:24 PM
  • Hippolyte: I’ve been attending the Met regularly for over 30 years more often than not sitting (or... 10:07 PM
  • DonCarloFanatic: Never really cared for him in movies, and obviously not old enough to have seen him live and... 9:59 PM
  • PCally: The Rake’s Progress was staged at La Monnaie and subsequently traveled/was supposed to travel... 9:54 PM
  • Hans Lick: The problem with doing dramatically tight and focused productions at the Met for some hypothetical... 9:39 PM
  • m. croche: Jolson’s style has dated terribly, but I don’t know how many performers of his generation still... 9:36 PM
  • Hans Lick: PCally – Where did Lepage stage The Rake’s Progress? I feel that he basically did not... 9:34 PM
  • aulus agerius: When I grew up in GA in the 50s minstrels were regular fundraising events for PTAs and high... 9:30 PM
  • armerjacquino: I’ve not once seen a Zeff or Schenk production where the singers didn’t look as if they’d... 9:05 PM
  • La Cieca: Apparently (according to those who were there) he had enormous magnetism in live performance. The... 8:54 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 »