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. Read more »
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.
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
Is it really true—the rumor La Cieca just now invented out of whole cloth—that René Pape will play Boris Godunov as an eccentric Chanel couturier? Cher public, you’ll have the chance to find out even before opening night of the Met’s new production of the Mussorgsky epic, since the company is making available making 2,000 free tickets to the October 8 dress rehearsal. Tickets to the quasi-preview, which begins at 11:00 a.m., will be available through an online ticket drawing only. Entries may be made on October 5 through the Met’s website www.metopera.org. Your doyenne is sure her spies know what to do.
La Cieca’s newest and nicest trickster god Fartnose McGoo (pictured) attended a lecture at the Met tonight introducing the new production of Das Rheingold. After the jump, some of his observations.
[La Cieca welcomes the newest and most lissome member of the parterre espionage force, Mlle. La Taupe, who just last night invaded the first performance of San Francisco Opera’s La fanciulla del West.] UPDATE: The last act!
La Cieca’s faithful spies once again have done their jobs well! What you learned here a week and a half ago about refitting to the Met stage to accommodate the ginormous weight of the Lepage Ring set has finally made its way into the New York Times. Also (love him or hate him) you have to give props to Peter Gelb for chutzpah: the reinforced stage, he says, now can support so much weight that “We can add elephants to Zeffirelli productions.” [NYT]
La Cieca has just heard from one of her habitually infallible moles that the refitting of the Met’s stages for the Robert Lepage Ring began today.
Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:
La Cieca is informed that tomorrow’s final dress rehearsal of Hamlet is as closed as closed can be: covers, Met staff and a few handpicked guests of Peter Gelb are the only humans to be allowed in the auditorium as the Thomas is teched. It’s natural enough, since — as we all know — the opening night Ophélie, Marlis Petersen, will not be present for this last runthrough, busy as she is singing Medea in Vienna gleichzeitzig. This veil of secrecy is like catnip to La Cieca, of course, so should you, cher pube, be one of the chosen few […]
La Cieca has the first top-secret highly classified eyes-only report from inside the hermetically sealed Attila dress rehearsal at the Met. Our spy (possibly pictured above) speaks out — after the jump, naturally.