Cher Public

  • Flora del Rio Grande: Brava brava, Karita! Please come back and sing Makropoulos for us!!!! 12:47 AM
  • Flora del Rio Grande: please read ‘dear’ for ‘day’ in my post. 12:43 AM
  • Flora del Rio Grande: Miss Ivy: How can you possibly say those things about Kaufmann? There is no basis for painting him with the Aryan... 12:40 AM
  • dr.malatempra: Just to inject a note of actual experience, Racette’s Salome in Chicago was perfectly in tune and quite splendid.... 12:32 AM
  • theszak: Who are cast in what roles, and baton?… for La Zombiata by Jillian Flexnor at Davis Square Theatre Somerville... 12:11 AM
  • mirywi: The Gates Foundation isn’t set up to fund the arts. The money funds evidence-based public health initiatives. That... 10:55 PM
  • fletcher: I was secretly hoping for Domingo as Herod. 10:54 PM
  • littoraldrift: Mattila letting it rip in Helsinki back in December — I don’t know anyone singing at her level these days that... 10:09 PM

Lyre’s poker

The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops. When the lyre of Orpheus is heard (it never is seen, and it sounds like a recorder), rose petals turn up in hair or sleeves or pockets. The king of the dark realm is prepared to do almost anything to get rid of the intruder, even give him back his late bride (on conditions). The Maenads are a couple of riotous club ladies in bouffant ’dos and over-the-top pastel outfits, biting off a little piece of Mahler’s—sorry, Telemann’s.

Rebecca Taichman’s busy staging of Telemann’s 1726 opera Orpheus (or, Die wunderbare Beständigkeit der Liebe, The Wonderful Constancy of Love), for the New York City Opera, played in David Zinn’s spare sets and colorful costumes, tends to modern stage clichés but at least none of it gets in the way of, or unduly clutters, the familiar tale of the greatest musician of classical myth.   Read more »

From Hell

“About the only good thing that can be said for New York City Opera’s Orpheus, which opened Saturday night, is that it made the rest of the company’s feeble season seem scintillating by comparison.” [New York Post]

Boy meets ghoul

“Zombies are impossible to escape these days — on television, film, video games, even reworkings of Jane Austen (Pride and Prejudice and Zombies). And now New York City Opera has given us a “Così Fan Tutte” starring the undead.”  [New York Post]

traviata_thumb

She’s fallen and she can’t get up

“New York City Opera performed La Traviata at BAM Sunday afternoon. That’s who, what, where and when. But this was a performance without a ‘why’.”

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Broad Street Baby?

La Cieca hears that the New York City Opera is moving its administrative offices to 75 Broad Street, a location you surely remember as The International Telephone and Telegraph Building.  The a 1928 structure boasts  the mosaic dome glimpsed above, and (coincidentally) sits just across the street from the old Goldman Sachs building.

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NYCO/union talks break down

Local 802 and AGMA have rejected New York City Opera’s “final offer,” placing the company at an “impasse,” according to an email from George Steel to members of the company’s board.

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“ZERO dollars!”

“City Opera Management has passed on an offer from the unions representing its musicians and singers that could have saved the company some much-needed cash. The proposal would have required members of the New York City opera to perform for free in the 2011-2012 season.” [NY1]

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The Ten Percent Solution

NYCO’s George Steel has “…a vision of gradually increasing productions, arriving at 10, with 40 performances…. the company would reach the 10-production benchmark by 2025…. Only about 10 percent of revenue this season is predicted to come from the box office, with the rest mainly provided by donors. The ratio does not change much over the phased growth plan, meaning that only $1 or $1.50 out of $10 will come from ticket purchases.” [New York Times]

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When we deaf awaken

Open your eyes, sleepyheads! In the news this morning, our own JJ raves about Satyagraha at the Met (“a masterpiece of musical and visual art”); the ever-articulate Nico Muhly takes aim at the Met’s production values (“Mercedes Bass or Anne Ziff paid for the opera. What do you think is going to happen?”); and NYCO’s orchestra and chorus offer to work for free.

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Cash memory

“The New York City Opera is at an exciting and critical junction in its approach to opera and its ability to connect to audiences in the broader New York City community. City Opera’s new innovative programing presents an opportunity to re-imagine and re-conceive current fundraising efforts for a budget of $13.7 M.” Yes, NYCO is trying to hire a new Director of Development.

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