Cher Public

Door to door

The Met’s planned premiere of Iolanta/Bluebeard’s Castle was cancelled due to the Great Blizzard That Wasn’t. All ticket holders were given refunds and exchanges, and the premiere was moved to January 29. As a result the lobby of the Met pre-performance was a noisy zoo. The will call line spiraled almost to the basement stairs and my! all that fur (on both the men and the women). Outside was a small but noisy group of protestors. It’s understandable that the Met staff seemed a bit frazzled and overwhelmed.   Read more »

Why Rupert Christiansen is the wrong commentator about gay rights protesters

The veteran British critic click-whored, “[B]ased on the possibly paranoid notion that the two men are as thick as thieves, Gergiev is being systematically harassed and hounded before performances in both New York and London by campaigners who feel that his silence on the gay issue indicates his tacit support for his chum in the Kremlin.”

O nube! che lieve per l’aria ti aggiri

Prominent local “billionaire scam artist” Alberto Vilar has asked for an extension on his court-imposed curfew so he may attend the Met’s Eugene Onegin and “socialize” afterward with the performers. Read more »

The rite of autumn

Queer Nation claims responsibility for tonight’s political action in Carnegie Hall, chanting “[Valery] Gergiev, Your Silence is Killing Russian Gays!” as the maestro arrived on stage to lead an all-Stravinsky program. According to a press release from the activist group, “The protesters, who were met mostly with applause but also with some boos, were led away by security guards. There were no arrests.”

Tonight or Neva

Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)

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Pushkin comes to shove

Onegin, which opens the Met’s season on Monday, has taken an unusually precipitous tumble…

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Ring à la russe

Wagner is becoming an important calling card for Valery Gergiev and the Mariinsky Theatre.

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