You really didn’t think your doyenne would let a top-secret dress rehearsal at the Met slip away without getting an exclusive on-the-scene report for you, the cher public? Now, did you? Well, if you did, you’re wrong, because La Cieca’s mole (pictured) has filed the following report: Read more »
A faithful spy reports from the Met: “Today’s final dress of Wozzeck went very well, to say the least…. The small ‘closed’ audience cheered at the end. Waltraud Meier turned toward the wings when it was time for the maestro to take his curtain calll, but returned to her place without him. Suddenly, there [James Levine] was smiling broadly, zipping out to his place in the line-up in an agile golf cart of some kind. To much cheering. Perhaps this will be his solution to the somewhat tortured curtain calls of earlier in the year. I think it worked. At least he wasn’t grimacing in pain.”
There were a disproportionate number of young people at the Met today—even younger than me, which is really young. That made me happy and smile while filing in line to enter the auditorium. Hopefully this is the next generation of undying fans and queens about to plunge into a “new” world of opera spearheaded by John Adams‘ Nixon in China from the 80s: a MET premiere no less!
But let’s get to the dish of this dress. Read more »
La Cieca’s spy wriggled into last night’s Met dress rehearsal of La traviata and reports: “One has to be careful about making too many judgments or drawing too many conclusions from a rehearsal, but last night’s final dress was indeed very promising.”
After a rather long afternoon at the Met, a member of the cher public writes: “The Don Carlo final dress was worth catching.” Our spy has more to say after the jump.
I saw the final dress rehearsal of Adriana Lecouvreur at the Royal Opera House on Monday this week, and I think I have never seen the place so crowded for such an event. No wonder, for here was a cast you might dream of, in a highly finished piece of work mounted by one of our finest directors, shown without any perceptible hitch.
Stephen Wadsworth‘s vision of Boris Godunov will be more limited than Peter Stein‘s—at least so far as timing goes. Though the original director’s version would not have run anything near as long as his 12 hour Devils on Governor’s Island last summer, Wadsworth found a way to make the production both lighter in weight and about 15 minutes shorter from curtain to curtain.
The fact: the rainbow bridge worked tonight in Rheingold at the Met, and the effect was “spectacular.” (All right, that last part was an opinion. But, moving on.) The rumor: “everyone” at the Met knew “well in advance” that the rainbow bridge would not be attempted at Monday night’s opening performance.
Cher Public