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  1. #1666
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    I would definitely want to see it. I loved the "geriatric selves" Alcina at Aix, as well of course as Written on Skin.
    Exactly, this is the thing with split stage distractions: it depends on the talent of the director. It could be distracting if done poorly, or it could be adding to the opera and brilliant if done right. I think Mitchell is an example of the latter. The simultaneous action in both Alcina and Written on Skin did not detract from the operas; much the opposite. We did not have to look left and right like a tennis match, but rather, the action was flowing smoothly from one side to the other. I think she can pull it off in this Lucia.

    By the way, Stephen Costello who will be in the production has agreed with answering a couple of questions about it. I'll ask Diana Damrau too. What would you guys like to ask?
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  3. #1667
    Senior Member Veteran Member Povero Buoso's Avatar
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    For Mr Costello a question broadly along the lines of what musical and dramatic differences he has found in playing each of the four tenor leads in Donizetti's tudor operas. In line with what we've been talking about on the news forum over the past few days some questions on split staging and what exactly he would give as a definition of regie and whether it is still a solely derogatory term or whether it has in fact been embraced by some directors as epitomizing what they wish to do.
    "Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.

  4. #1668
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    I would be interested in knowing how extreme this production of Lucia really is - in other words, is my alarm something of an over-reaction, or is Ms Mitchell's production strong enough that the singers themselves are struggling with its requirements?

    In the case of the latter, how do singers reconcile themselves with what might be their intellectual curiosity/appreciation toward a director's plan with their own personal comfort/discomfor levels with a production? Note: I've read about singers signing contracts some years in advance of directors being known/appointed, so they might find themselves in very uncomfortable productions they hadn't foreseen.

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  6. #1669
    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
    I would be interested in knowing how extreme this production of Lucia really is - in other words, is my alarm something of an over-reaction, or is Ms Mitchell's production strong enough that the singers themselves are struggling with its requirements?

    In the case of the latter, how do singers reconcile themselves with what might be their intellectual curiosity/appreciation toward a director's plan with their own personal comfort/discomfor levels with a production? Note: I've read about singers signing contracts some years in advance of directors being known/appointed, so they might find themselves in very uncomfortable productions they hadn't foreseen.
    Cool, thanks. About the second half of your second paragraph he did already comment extensively on this, in the interview that has been transcribed and is with him now for final approval. Basically he is of the opinion that once you sign a contract you have to do your best to agree with what is required of you. He said that if you don't do your homework by screening carefully everything a director has done in the past but instead you sign blindly, then you have lost the right to act surprised with the demands. He said the time to bail out from a production is before you sign; not after.
    Last edited by Luiz Gazzola (Almaviva); March 19th, 2016 at 10:37 PM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Here's a whole new twist on 'Regie' productions: Le Nozze di Figaro done as a "multi-ethnic reboot" known as Figaro (90210) . Such a production did require a total rewrite of Da Ponte's libretto, however, with a focus on Mexican-American culture:

    In Figaro! (90210), Figaro and Susana (one 'n', because she is Latina) are undocumented workers toiling for a lecherous Beverly Hills real estate mogul and his Botox-addicted wife.

    Other characters include a pothead gardener, an aspiring rapper, a conflicted sweatshop owner and the mogul's goth daughter. This production, directed by Melissa Crespo, features a multiethnic cast - and a duet about sexting.


    Here's the article, which includes an interview with the director:

    http://www.nbcnews.com/news/latino/m...-90210-n536931
    Last edited by Hoffmann; March 21st, 2016 at 12:14 PM.

  9. #1671
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    As long as this Figaro is presented as "based on" Mozart and not advertised as Mozart's The Marriage of Figaro, then I have no issues with it.

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    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by MAuer View Post
    As long as this Figaro is presented as "based on" Mozart and not advertised as Mozart's The Marriage of Figaro, then I have no issues with it.
    Yes, I remember this when it first came up. They did change the title, and they did say it's an adaptation, so I have no issues with it either. It's an interesting take.

    By the way, I did send our questions about the Covent Garden Lucia to both Stephen Costello and Diana Damrau. Fingers crossed that they will reply. I find it a bit unlikely, though, because as artists in the middle of the production, they will probably feel uncomfortable about commenting on it. If they do reply I expect some sort of non-committed statements like "we are happy to be part of this and believe that the director will do a good job" etc. But then, one never knows. Sometimes the artists are more daring than that. We'll see. Stephen's agent did say that it would be OK to ask the questions, and I reached Diana directly through her personal email. Neither one has replied, so far (but the questions were only sent yesterday afternoon in the case of Stephen, and yesterday evening in the case of Diana).
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  13. #1673
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Damrau has already commented to the Guardian: http://www.theguardian.com/music/201...d-diana-damrau
    Natalie

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  15. #1674
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Damrau has already commented to the Guardian: http://www.theguardian.com/music/201...d-diana-damrau
    Cool, I'm glad to see that she is supporting the production, and she shares our admiration for Katie Mitchell.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  16. #1675
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    This story about Greg Spears' Fellow Travelers, which will have its world premiere in Cincinnati in a few months, appeared in the Daily Mail:

    http://www.dailymail.co.uk/wires/afp...der-Scare.html

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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

  19. #1677
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by sospiro View Post
    Where do I send my CV?

    Well, if I get the position, expect lots of cough cough assets cough cough displayed in future ROH productions. First of all, we'd need Salome with Anna Netrebko.

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    Hm.... I guess there is precedent - this picture was taken at the ROH:

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    And I think it's about time for the ROH to stage John Sanborn's opera PICO inspired by John Cage.

    Erm... maybe I shouldn't post that one here (it might, erm, run a bit against our Terms of Service), but the curious can Google Image it...

    Yep, definitely in my tenure I'd stage that one!
    Last edited by Luiz Gazzola (Almaviva); April 5th, 2016 at 11:37 PM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  21. #1678
    Senior Member Veteran Member Povero Buoso's Avatar
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    Pappano remains in place till 2020 at the ROH http://slippedisc.com/2016/04/maestr...reathes-again/. Along with the great season announced today, that has significant variety and very popular names, residents in and near London will be spoilt for choice.
    "Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.

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  23. #1679
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Last night was opening night of Katie Mitchell's Lucia di Lammermoor at ROH.

    Professional critics' opinions.

    The Arts Desk

    The Stage

    The Guardian


    The Telegraph

    Planet Hugill

    What's on Stage


    The ordinary punters' opinions.

    via ROH site

    I can't comment as I didn't go and don't plan to go. One of my friends who was there, said it was too gynaecological for his taste but thought this might titillate some of the audience.
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I discovered quite by accident that Kathleen Battle appeared in concert yesterday at Eastern Kentucky University with a program of music associated with the Underground Railroad.
    http://www.richmondregister.com/news...464cda829.html
    According to this story in the local daily, she has been touring with this program and is even set to present it at the Met this coming November -- as far as I know, her first appearance there since her ignominious firing by Joseph Volpe in 1994. I'll be curious to find out if any of the performing arts organizations here in Cincinnati invite her to come here, since she has strong local ties and the city is home to the National Underground Railroad Freedom Center. (There is some debate as to whether the real-life "Eliza" from Uncle Tom's Cabin crossed the frozen Ohio River to Cincinnati or farther upstream at Ripley, Ohio.) Battle made her last appearance here with the Cincinnati May Festival sometime after the Met contretemps, and didn't exactly make friends with her prima donna antics. One hopes that whatever emotional problems were plaguing her 20 years ago have since been resolved.

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