Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure. Read more »
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
I’d like to say a brief requiem for the Metropolitan Opera’s last production, brilliantly designed by Michael Levine and directed by Robert Carsen. Its strong use of color and abstraction brought an easy focus to the unabashed romanticism and melancholy of this work. Read more »
The prenegotiation negotiating has begun: “Including staff benefits, Gelb [pictured, right] says a full-time chorus member at the Met earns an astonishing $300,000 (£180,000) a year, while the players of the Met Orchestra earn more than any orchestra in the US.” [Times of London - paywalled, sorry!]
Here you are, cher public, details of the Met’s (to be perfectly frank) not particularly spectacular mid-decade season.
La Cieca is happy to announce a meet-and-greet gathering for New York City area parterre readers on November 24 starting at 2:30 pm at Symphony Space. The focal event of the afternoon will be a screening of Les Vêpres Siciliennes from the Royal Opera House at 3:00 pm, with socializing (pictured, above) to occur during the intervals and, after the film, adjourning to a neighborhood watering hole TBD.
La Cieca asks all members of the cher public in the New York City area to pencil in 3:00 pm on Sunday, November 24 as combination meet-and-greet of the parterriani and viewing of the HD film of Les Vêpres siciliennes at Symphony Space.
American tenor Bryan Hymel will make his Met debut, singing the role on December 26, December 29 matinee, January 1, and January 5 matinee (the date of the global HD transmission).
Of particular visual interest in last weekend’s Lohengrin (though not perhaps so tantalizing as Jonas Kaufmann‘s aristocratic bare feet, pictured above) is the very obvious change in the staging that was made between the antegenerale (in which Anja Harteros sang Elsa) and the telecast opening night.
La Cieca has been sniffing around her generally reliable (and fragrant) sources, and she thinks she has pieced together a list of the dozen operas to be featured in the 2013-2014 season of “The Met: Live in HD.”