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

“Where was Liam Joshua?”

“Anyone looking for orgiastic obscenity in Calixto Bieito‘s production of Carmen at the London Coliseum, will be bitterly disappointed, writes Rupert Christiansen.” [The Telegraph]

Reader, I shagged him

Deborah Orr (“one of Britain’s leading social and political commentators”) doesn’t know much about opera, but she does know she prefers opera to al fresco gay sex. At least I think that’s what she’s talking about in The Guardian.

Vicar aghast at codswallop

fatherjackto7

“Italian opera has never been more popular. It has also never been in greater need of Italian voices. No matter how good the alternatives, a home-grown voice, properly schooled, transforms the sound of Verdi. It is not just the diction or timbre. It is the tradition . . . . Nicholas Hytner’s staging … remains earthbound. Why is it that successive National Theatre directors, upon entering the Royal Opera House, automatically capitulate to operatic convention?” [Financial Times]