Questo e Quello
“The La clemenza di Tito contract will be offered as a ‘Solo Dancer’ contract and requires 8 physically fit men…. The David McVicar production…”
Ça va sans dire, cher public.
This DVD
of a Diana Damrau recital (accompanied only by the harpist Xavier de Maistre) is sure to please her legions of fans.
When Mr. Steel asked Mr. Koch if he could make further gifts to save the company, Mr. Koch demurred, telling Mr. Steel that the Marshall family might be less than pleased.
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
“The title character in Barber’s Gothic melodrama Vanessa, a self-deluded, manipulative older woman, ‘keeps coming up,’ Ms. Voigt said.”
This week’s canard is inspired by recent sad news here in New York, and it goes something like this…
Well done, littoraldrift!
Another season opens this weekend, the much-admired series of livestreams from the Bayerische Staatsoper.
“Director Christopher Alden destroys everything Strauss’s operetta stands for”
Our Own JJ surveys the first week of the Met’s season (Eugene Onegin, Cosi fan tutte, The Nose, Norma) for the New York Observer.
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.
“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.”
“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.”
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scheduled when they share the role of Gilda in Verdi’s Rigoletto later this fall, replacing Aleksandra Kurzak, who has withdrawn due to pregnancy.
“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’.”
It’s hard to come up with any sensible reason to dislike Joyce DiDonato.
“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.”
Even those of us who cannot aspire to haute couture can still discuss off-topic and general interest subjects, cher public.
“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]
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.
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.
“Steel’s 2011 compensation, $340,000, while down 10 percent from the previous year, amounted to a third of ticket sales.”
[Opera is] “an exotic and irrational entertainment.”
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
