“Rudolf Bing, general manager of the Met from 1950 to 1972, once observed that his opera house was ‘similar to a museum. My function is to present old masterpieces in modern frames’.” Our Own JJ takes on an old frame (Der Rosenkavalier) and a new (Eugene Onegin) in his latest review for the New York Observer.
“Opera isn’t all about the music: On the most basic level, it’s a grotesquely expensive form of entertainment. When people drop a half a grand for a pair of only pretty good seats at the Met, never mind parking and dinner and getting the suit pressed, they want some visual bang for their buck.” Our Own JJ considers Die Frau ohne Schatten and Rigoletto in the New York Observer.
Our Own JJ (not pictured) surveys the first week of the Met’s season (Eugene Onegin, Cosi fan tutte, The Nose, Norma) for the New York Observer. [Photo: Ken Howard]
“Alden Drops the Ballo: His Milquetoast Take on Verdi’s Classic Fizzles at the Met”
La Cieca (not pictured) is so gratified that there’s at least one arts journalist out there who’s willing to take on the really tough, gritty issues that so few are willing to touch. The scribe is Zachary Woolfe and the powderkeg topic du jour is Anna Netrebko‘s mid-scene breaking of character at the opening night of Anna Bolena as it relates to analagous instances of metaperformance across historical and cultural boundaries. Gripping stuff!
Briefly, according to Zachary Woolfe: “No one came.” More elaboration, plus speculation on “What That Means,” in the New York Observer. And for those of you with a taste for hash, the subject is revisited as well in the New York Times.
“After a 15-year collaboration that catapulted Renée Fleming from just another plush-voiced soprano to a glamorous, genre-crossing household name, the singer is parting ways with legendary publicist Mary Lou Falcone.” [New York Observer]