Cher Public

  • m. croche: The lyrical, expressive score by Paula M. Kimper is the opera’s central attraction, and the closest comparison I can make to... 4:38 PM
  • La Cieca: Check back tomorrow at noon for a link to the video and a discussion page for La Juive. 4:23 PM
  • NPW-Paris: Another senior moment. I read “porker̶ 1;. 1:25 PM
  • Jungfer Marianne Leitmetzerin: Anna Netrebko’s “Vier letzte Lieder” (“Four Last Songs”) of Richard Strauss are now on Mixcloud. Christian... 1:04 PM
  • laddie: Whoops, WRONG day, dearie. 11:52 AM
  • laddie: No thread for La Juive? 11:51 AM
  • Will: Just when I’m thinking this whole barihunk thing is getting a little tired, along comes a picture of Mr. Jarrett Ott and I... 10:17 AM
  • Donna Anna: David, Watch “Alive Inside” if you want to see just how powerful music can be for people with dementia. Amazing... 9:15 AM

Tony award

“For decades New York City Opera was a model of an organization with a clear mission. Now there may be no opera company, orchestra or ensemble more in need of a mission reboot…. Though Mr. Steel has brought tireless enthusiasm to City Opera and presented some exciting productions, he has been unable to give the company a clear profile.” [New York Times]

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]

jj_post

Boy meets ghoul

Now New York City Opera has given us a “Così Fan Tutte” starring the undead.

Read more »

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’.”

Read more »

Read more »

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.

Read more »

Read more »

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.

Read more »

Read more »

“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]

Read more »

Read more »

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]

Read more »

Read more »

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.

Read more »