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Thread: 2017/2018 Season

          
   
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  1. #151
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    I forgot about L'Ange de Nisida - just love what Opera Rara do so I'd like to see this.

    Actually, I've been coerced* into going to see the blessed Angela in Tosca in January. The cast is great though as I love Joe and Finley as Scarpia will definitely be worth seeing.

    * by my lovely friend who is a huge fan and wants to celebrate my birthday. She gets far more excited about my birthday than I do!
    That sounds like a lovely birthday plan, I hope you love it!

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  3. #152
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Komische Oper Berlin

    Looks like an interesting season, if a few too many musicals.

    Count me in, though, for Calixto Bieto's Die Entfuhrung aus dem Serail!

    https://www.komische-oper-berlin.de/...18___issuu.pdf

  4. #153
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    This is provisional until all the houses finish announcing, but I'm currently thinking about a Paris trip in the fall (Don Carlos first cast or From the House of the Dead? Or second cast of Don Carlos and House of the Dead? The budget and vacation days will not stretch to two fall trips to Paris) and then Zurich in May or June to see La Forza del Destino (and whatever else pairs nicely). I thought about ROH House of the Dead, but that can only be paired with either Carmen or Macbeth, which aren't terribly exciting.

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  6. #154
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Dichteurehalle View Post
    This is provisional until all the houses finish announcing, but I'm currently thinking about a Paris trip in the fall (Don Carlos first cast or From the House of the Dead? Or second cast of Don Carlos and House of the Dead? The budget and vacation days will not stretch to two fall trips to Paris) and then Zurich in May or June to see La Forza del Destino (and whatever else pairs nicely). I thought about ROH House of the Dead, but that can only be paired with either Carmen or Macbeth, which aren't terribly exciting.
    Last time I was at L'Opéra de Paris the performance was so unbelievably bad! My friend who lives there and knows her opera well agrees that the company has been dreadful, lately.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  8. #155
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    Komische Oper Berlin

    Looks like an interesting season, if a few too many musicals.

    Count me in, though, for Calixto Bieto's Die Entfuhrung aus dem Serail!

    https://www.komische-oper-berlin.de/...18___issuu.pdf
    Looks wonderful. Glad to see our friend Nadja Mchantaf as Mélisande (she is also Micaëla and Pamina).
    Satyagraha, wow!
    Such a delightful company, the Komische! Good memories from last summer!
    Last edited by Luiz Gazzola (Almaviva); April 11th, 2017 at 02:24 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  10. #156
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Last time I was at L'Opéra de Paris the performance was so unbelievably bad! My friend who lives there and knows her opera well agrees that the company has been dreadful, lately.
    Oh, that's so disappointing, their next season (and their Parsifal cast) look so congenial! But thank you for for the heads up! What do you think is going on there?

  11. #157
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Dichteurehalle View Post
    Oh, that's so disappointing, their next season (and their Parsifal cast) look so congenial! But thank you for for the heads up! What do you think is going on there?
    It's confessedly hard to generalize after just one show (although it qualifies as one of the worst I've seen in my entire life of opera fan - especially in contrast with spectacular shows I saw in the same trip, in Aix-en-Provence, Milan, and Berlin) but my friend said the company has had faulty artistic direction (probably the main reason according to her; she is not fond of Stéphane Lissner; which is a bit surprising since his previous two jobs were at La Scala and Aix); she also quoted high turnover in essential positions including instrumentalists, labor relations problems, high production costs at Palais Garnier with small seating capacity always dragging down the company's bottom line, and the perennial acoustic problems at L'Opéra Bastille. She also said the company has suffered from the competition with more creative venues such as the Aix and Salzburg festivals, Glyndebourne, and British/Swiss/Austrian/German houses.

    She is probably right about this last point above.

    When one thinks of top opera companies in the world, one will often include the ROH, Berlin Staatsoper, Munich Staatsoper, Vienna Staatsoper, La Scala... plus the outstanding festivals in Glyndebourne, Aix, and Salzburg (the Met is probably the only company outside of Europe that can compete with these). Being Europe relatively small and with all these fabulous places (and a long list of smaller ones that are also churning out creative productions) at easy train/air/even driving distance, I'd imagine it is difficult for any company to break into the elite ones, and while L'Opéra de Paris once was in that rarefied circuit, apparently it is no longer maintaining the same level of quality. I'd imagine it doesn't mean they can't bounce back anytime, given their historical importance and resources.

    L'Opéra-Comique at Salle Favart has just reopened after their 18-month renovation so Palais Garnier/Bastille will have to compete with their sister company in town as well. The brochure for the Comique looks great (I love the posters): [clicky]

    When I was planning my trip and emailed my friend about it, including, inviting her to come with me to L'Opéra de Paris, tickets on me, she said "It's kind of you and I gladly accept, but I must warn you that coming from Aix, Milan, and Berlin, you'll be disappointed with L'Opéra National de Paris." After seeing the show, I had to agree that she was absolutely right. Poor orchestral playing, iffy singers, and extremely confused stage direction... it was simply terrible.

    I was shocked, because I have some DVDs and blu-ray discs from the company that are very good, and had fond memories of it from the time I lived in Paris decades ago. But definitely that dreadful performance was the low point of the trip.

    I mean, I've been to many mediocre Met performances... but never that bad. For one thing, at the Met the orchestra very rarely misfires, and singing doesn't dip too low even in the weakest performances. In Paris everything was really, really bad.
    Last edited by Luiz Gazzola (Almaviva); April 13th, 2017 at 04:20 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  12. #158
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Bilbao.

    http://www.abao.org/en/Temporada1718.html

    I Masnadieri as part of their wonderful Tutto Verdi project.

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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    Very well balanced and so easy to see at a glance what is coming up!
    Natalie

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  20. #162
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Last edited by Ann Lander (sospiro); April 21st, 2017 at 06:03 AM.

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  22. #163
    Senior Member Involved Member jflatter's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    Antonacci as the Queen in Gloriana-Interesting casting.

  23. #164
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I'm not sure if I have already commented upon the Met's 2017/18 season; I don't feel like browsing all 11 pages here to see if I did. Anyway. I got the brochure today and I was thinking about it.

    For me the absolute highlight is The Exterminating Angel (you know that I love contemporary opera; I'm glad that the Met is doing one this year, back-to-back with L'Amour de Loin last season). I'll make sure I attend this one in person, in late October or November. I like Thomas Adès quite a lot; it's a new production for us (co-production with the ROH, Royal Danish Opera, and Salzburg) so it should be a treat. Besides, one of the singers is someone I'm very fond of from my interview with her in Santa Fe, Amanda Echalaz. I'm very excited about it.

    Unfortunately there isn't much more that I'm very excited about. The other four new productions are Norma, Tosca, Così fan Tutte, and Cendrillon. The latter can hardly be called new... I've seen it live from the ROH in movie theaters. It's good but I don't care for seeing it again. Così fan Tutte, I doubt it will be better than the spectacular one I just saw in Aix-en-Provence so I'm not really planning a special trip for this one either. So there is Norma and Tosca; I may try to see Tosca with Kristine Opolais instead of Anna Netrebko in spite of my fondness for the latter, because I've seen the latter so many times and was never able to see the former live on stage, including, had tickets and she cancelled (I'm a big fan and own most of her DVDs/blu-ray discs).

    This is weird, one wonders if Anna is losing space at the Met. No cover image; her face doesn't even show in the Tosca section of the brochure (Kristine's is there, instead) and other than sharing this role with Kristine she is nowhere to be seen except that they have a smaller picture of her in one of the interior pages. By the way, the question asked on the initial pages of this thread about the possible presence of her husband has been answered; he won't be there.

    Regarding the revivals, well, there are a bunch of revivals. We get treated to a Die Zauberflöte and... a The Magic Flute. Nice. They are showing both their productions in the same season, the one in German supposedly for grown-ups, and the one in English for families and kids. However, the one in English is a much more imaginative production anyway. I wish they'd just do this one, and occupied the slot for the other one with something more compelling.

    Then, there are several revivals that I've seen already. Of course the casts are different but the motivation to travel to see again the same revival is smaller. Definitely I wouldn't go to see again this Bohème, this Zauberflöte, this Butterfly, this Merry Widow, this Cav/Pag (hmm... maybe this one; the cast is very good), this L'Elisir d'Amore, this Trov, this Elektra, this Lucia, this Turandot, this R&J, all productions that I've already attended in person. A few others I've seen in the cinemas or on blu-ray disc.

    So what is left for me? Semiramide, definitely. I'll try to go see it. Thaïs seems enticing and it is with Ailyn Perez; I like her. I may reconsider Lucia if I can catch Jessica Pratt. She was one of my best interviewees and we did it over Skipe so I never met her in person. She shares the role with two others I like as well, Olga Peretyatko, and Pretti Yende; the latter I never met or interviewed (she is also in L'Elisir d'Amore).

    25 operas (24, really; two versions of the same one) plus Verdi's Requiem; too many revivals, only one real fly of fancy (The Exterminating Angel), so, I'm kind of disappointed. It seems like the Met is in decline, given the budget issues.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  25. #165
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    We get treated to a Die Zauberflöte and... a The Magic Flute. Nice. They are showing both their productions in the same season, the one in German supposedly for grown-ups, and the one in English for families and kids. However, the one in English is a much more imaginative production anyway. I wish they'd just do this one, and occupied the slot for the other one with something more compelling.
    Yes! From the pictures, the adult production looks like a fairly static staging, liberally peppered with Masonic symbols, while the children's production involves dancing flamingos and bears, and what appears to be a ton of stilts. All else (native language libretto vs translation, size of cuts) being equal, I know which one I'd rather see!

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