Post-Liebestod
“The title character in Barber’s Gothic melodrama Vanessa, a self-deluded, manipulative older woman, ‘keeps coming up,’ Ms. Voigt said.”
La Cieca
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
Deductible canard
This week’s canard is inspired by recent sad news here in New York, and it goes something like this…
Bean counter
Another season opens this weekend, the much-admired series of livestreams from the Bayerische Staatsoper.
Present prescriptive
“Director Christopher Alden destroys everything Strauss’s operetta stands for”
Tucker everlasting
Those dear, dear people over The Greene Space at WQXR would like you, cher public, to join them this Friday for a concert saluting this year’s winner of the Richard Tucker Award, mezzo-soprano Isabel Leonard.
Mary est une vertu rare
“It was Thais, Massenet’s marvelously dexterous lyric drama of passion, opera of writhings, opera that repels in its most tremendous moment, yet allures and conquers, that swept grand opera to a new night of triumph.”
It’s over
“New York City Opera, created 70 years ago as the ‘people’s opera,’ expects to file for bankruptcy protection on Oct. 2 and either liquidate in court or be sold to another institution, its lawyer said.”
Everybody rise! Rise! Rise!
Two rising young sopranos will make their Met debuts earlier than originally scheduled when they share the role of Gilda in Verdi’s Rigoletto later this fall, replacing Aleksandra Kurzak, who has withdrawn due to pregnancy.
12 hours
“Today, an email from General Manager and Artistic Director notes… ‘We have just finished our successful run of Anna Nicole, and raised $2 million towards our target of $7 million, however there is only one day left to make a difference and help keep NYC Opera in business’.”
37
“Absent the kind of deus ex machina that has saved the day in so many of the convoluted opera plots the troupe has performed over the years, City Opera will start shutting itself down next week if it fails to raise $7 million.”
Rock around the cloak
Even those of us who cannot aspire to haute couture can still discuss off-topic and general interest subjects, cher public.
61
“City Opera had waited too long to reinvent itself, Mr. Steel said. ‘I wish we had gotten to the business at hand faster’.” [Wall Street Journal]
God! what darkness dense!
The opening of Calixto Bieto‘s production of Fidelio at the English National Opera provides yet one more opportunity for the fraternity of British critics to flaunt their credentials as a passel of overeducated prats.
Nostalgia isn’t what it used to be
A nice long read for your weekend perusal, cher public, on that early 20th century diva Frieda Hempel, with special emphasis on her series of “Jenny Lind” recitals, all the musical rage in the 1920s.
Three
“Steel’s 2011 compensation, $340,000, while down 10 percent from the previous year, amounted to a third of ticket sales.”
Definitive canard
[Opera is] “an exotic and irrational entertainment.”
“Dying together’s even more personal than living together”
“New York City Opera… says it likely will fail in its goal to raise $7 million by Monday, the deadline it set for suspending the bulk of its 2013-14 season.”
This is the end?
La Cieca has just heard from a reliable snitch that the NYCO board meets tomorrow to make a very big decision that will take effect within two weeks.
A disturbance in the force
The scene outside the Met last night (above) and inside (after the jump).