SiriusXM is broadcasting right now a 1981 performance of Tristan und Isolde featuring Gwyneth Jones (pictured) and Spas Wenkoff, with James Levine conducting the work that season for the first time in his career. And yet, here’s an operatic mystery: neither Ms. Jones nor Mr. Wenkoff was the casting originally conceived by Mr. Levine for this revival: they joined the cast fairly late in the game. So, who among the cher public can tell us which two familiar Met artists were supposed to sing these roles?
Friend and friend-in-law of parterre box Greg Sandow pours the oil of calm and rational analysis upon the troubled waters of the Met’s current labor negotiations (Oh heav’ns, can I make it out of this metaphor alive?) in the most recent installment of his always excellent (not to mention eponymous) blog.
AGMA and Local 802 have agreed to the Met’s proposal that Allison Beck, a representative of the Federal Mediation and Conciliation Service, be appointed immediately to mediate negotiations, working with both sides to find a compromise agreement.
La Cieca has come into possession of an interesting presentation, with fonts and everything, from Local 802, American Federation of Musicians, and the Metropolitan Opera Orchestra, outlining their solution for the current financial crisis at the Metropolitan Opera.
Your conduit to the spirit world, La Cieca, isn’t feeling quite as clairvoyante as usual today, cher public, so she’s going to ask your help in predicting what will happen in the course of the Met’s current labor negotiations.
In response to repeated urging by La Cieca, Our Own Dawn Fatale has contributed a “to do” list for the benefit of Met management, assuming the company makes it out of this summer alive.
Our Own Dawn Fatale (artist’s conception) will take to the airwaves of Bloomberg Radio this evening at 9:00 pm to discuss the Met’s current woes.
The Met’s administrative offices were vandalized this morning, with “obscene messages” sprayed “on some paintings and sculptures.”
“The award-winning MET Orchestra’s global reputation as a top-tier ensemble is critical to New York City’s tourism and cultural economy.”