Questo e Quello
La Cieca hears that the Met’s opening night of the 2018-2019 season will be a new production of Samson et Dalila featuring Bryan Hymel and Elina Garanca.
Our own Jungfer Marianne Leitmetzerin delves back into those days when there was another opera company in New York, and (what’s more) the opera done there was worth hearing.
Now that we have the good news (or anyway the goodish news) that the Met’s season will continue apace, let’s unbend a bit, cher public, and discuss off-topic and general interest subjects.
“Likewise Susan Bullock and Nicholas Phan—leading exponents of Wagner and Britten respectively…”
The little opera companies of New York are like chanterelles.
Cher public, you may remember that about 18 years ago a parterre writer called Dr. Repertoire came up with a handy list of rules for stage directors.
La Cieca (pictured) fears that the parterre hive mind proved itself populated with more drones than workers this time around.
“Acciaio Azzurro, Ferrari, La Tigre: sono tutti la stessa faccia!”
Now that it appears the Met’s labor crisis has been averted by successful completion of contract negotiations, La Cieca thought the cher public might be interested in seeing the exact terms of at least one of the pacts.
Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress.
AGMA and Local 802 “have agreed to cut a little more than 7% of their members’ compensation during the first year of the four-year contract, growing to 7% in the second and third years.”
UPDATE: The Met has reached tentative agreements with AGMA and Local 802. The contract deadline has been extended through midnight on Tuesday, August 19, to allow Local One and the other remaining unions with unsettled contracts more time to secure new deals with the institution.
Our Own Jungfer Marianne Leitmetzerin demonstrates the enduring quality of art with two performances of La Bohème four decades apart.
This past week of contract negotiations at the Metropolitan Opera has been notable for the absence of any new PowerPoint presentations or fustian proclamations.
The parterrians are invited to put the internecine squabbling on hold for a while, the better to discuss off-topic and general interest subjects.
“Prince Charles‘s harpist, 27 leaves husband for Britain’s biggest opera star Bryn Terfel, 48″
It was patriotism—and fate—that launched Heather Pawsey’s 19-year search for Ogopogo.”
La Cieca has just heard the sad news that the beloved soprano Licia Albanese died earlier this evening. She was 101.
More Anna Netrebko, and all that means, tomorrow at 10 AM EDT, cher public, as the Salzburg Festival production of Il trovatore is webcast over medici.tv.
“Labor! Oh, the problem of labor at the Met is gargantuan,” Our Own JJ (not pictured) would have said, had he thought of it.
You know, the commenters at parterre.com (pictured) may get a bit testy from time to time, but at least nobody here says stuff like, oh, for example…
Sleeveless Anna Netrebko sings the “Letter Scene” from Verdi’s Macbeth.
Mark Morris’ staging of Acis and Galatea at Lincoln Center is everything good about summer condensed into two hours.
Soprano Amanda Majeski will make her Met debut on the opening night of the 2014-2015 season as the Countess in Le nozze di Figaro, replacing Marina Poplavksaya “who has withdrawn for health reasons.”
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
