Thread: Opera Small Talk

          
   
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  1. #2026
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    Reminds me of the first time I watched Renata Scotto's Traviata, chomping on a freaking BOWL of McNuggets and weeping profusely. [edit: not in the nude]

  2. #2027
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I don't think I'd like to sit near the burger-munchers, either. But while I really don't care what others in the audience choose to wear (though I would hope they'd wear something!), I generally think that if dress codes exist, they should be respected. Were I visiting another country, I would certainly respect standards of conduct there. And it's possible to dress nicely without spending a pile of money, so the argument that having such dress codes would exclude all but the well-heeled really isn't true. That said, the point about air-conditioning, or lack thereof, is important. No one should be expected to sit for hours in a sweltering building wearing a suit and tie.

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  4. #2028
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    What a great idea: the Cincinnati Symphony Orchestra and Cincinnati Opera have combined forces for two concert performances of Pelléas et Mélisande this coming October. The performances are part of the orchestra’s 2017-18 season, but will include costumes and a staging by director James Darrah. No cast details are available yet, but CSO Music Director Louis Langrée will be on the podium. According to the orchestra’s web site, this is one of Maestro Langrée’s favorite compositions. He conducted the Cincinnati Opera’s production of La Bohème this past June, and I suspect this collaboration may be his initiative. Cincinnati Opera ticket purchasers have been offered a special discount and a chance to buy a P&M ticket before sales to the general public begin, and, of course, I’ve purchased mine. This will be a wonderful chance to get acquainted with another opera and to check out the refurbished Music Hall. In any event, bravo to both of these organizations. I hope we’ll see more joint efforts in the future.

  5. #2029
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by MAuer View Post
    What a great idea: the Cincinnati Symphony Orchestra and Cincinnati Opera have combined forces for two concert performances of Pelléas et Mélisande this coming October. The performances are part of the orchestra’s 2017-18 season, but will include costumes and a staging by director James Darrah. No cast details are available yet, but CSO Music Director Louis Langrée will be on the podium. According to the orchestra’s web site, this is one of Maestro Langrée’s favorite compositions. He conducted the Cincinnati Opera’s production of La Bohème this past June, and I suspect this collaboration may be his initiative. Cincinnati Opera ticket purchasers have been offered a special discount and a chance to buy a P&M ticket before sales to the general public begin, and, of course, I’ve purchased mine. This will be a wonderful chance to get acquainted with another opera and to check out the refurbished Music Hall. In any event, bravo to both of these organizations. I hope we’ll see more joint efforts in the future.
    This often happens here with the NZ Symphony, Auckland Philharmoic and NZ Opera. I enjoy the concert performances as much as the staged. Sometimes, as with Nixon in China, they are semi-staged. Next up is La Damnation de Faust with Eric Owens.
    Natalie

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  7. #2030
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    This often happens here with the NZ Symphony, Auckland Philharmoic and NZ Opera. I enjoy the concert performances as much as the staged. Sometimes, as with Nixon in China, they are semi-staged. Next up is La Damnation de Faust with Eric Owens.
    Eric Owens is something of a regular with the Washington National Opera - I think he's terrific!

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  9. #2031
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Well, this is interesting. The fifth work included in the Cincinnati Opera’s 2018 season is Laura Kaminsky’s As One, a chamber piece for two soloists and string quartet about a transgender woman’s coming of age. (The libretto is by Mark Campbell and Kimberly Reed.) What’s interesting is that several opera companies will be performing this piece in the coming season. According to the 2017-18 listings in the September issue of Opera News, Kaminsky’s opera will also be staged by Anchorage Opera, San Diego Opera, Hawaii Opera Theater, Des Moines Metro Opera, and Lyric Opera of Kansas City (Missouri). And that doesn’t include any companies in addition to Cincinnati who may be presenting the work next summer. As One premiered in 2014 at the Brooklyn Academy of Music, and the few performances since then have been at Utah State University and the “niche” companies West Edge Opera in Oakland, Calif., and Urban Opera in Washington, D.C. It was only this year that productions were mounted at two mainstream companies, Opera Colorado and Pittsburgh Opera. I think it’s quite unusual for a relatively new work to be performed by at least six companies within a season, and there doesn’t seem to be any real connection among the different productions. Baritone Kelly Markgraf, who created the role of Hannah Before and sang it this year in Denver, will be appearing in San Diego and Honolulu’s productions, but not Anchorage’s. (Des Moines and Kansas City don’t list their casts.) Three different mezzos will sing Hannah After in these cities. Although the issue of transgender people’s rights is a hot topic now, I’m guessing these productions were all planned and scheduled at least a couple of years ago in order to secure conductors and soloists. I’ll be quite curious next year when Opera News publishes its summer calendar to see if any other stagings of Kaminsky’s opera are on tap.

  10. #2032
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Opera meets film. Quantum of Solace (which I've not seen) and Tosca

    http://operawire.com/opera-meets-fil...tum-of-solace/

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  12. #2033
    Senior Member Veteran Member Povero Buoso's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    Opera meets film. Quantum of Solace (which I've not seen) and Tosca

    http://operawire.com/opera-meets-fil...tum-of-solace/
    Although a really rubbish film this scene is one of my favourites in Bond. Coincidentally I realized several months after watching Tosca that this film was one of the reasons I half recognized the Te Deum and explain why I grew attached to that part of the opera rather quickly. The film also contains a truly memorable one line by one of the villains in the scene when he takes out his earpiece but continues watching while all the other villains (foolishly) get up and leave commenting to the opera goer next to him that "Tosca isn't for everyone". Small bone to pick though in that Bond may make a mistake with some of the villains here as the Te Deum is the last part of act one so some people standing up might just be leaving for the interval to get ahead in the drinks queue!(they are still therefore villains but maybe not part of a global conspiracy of evil...)
    "Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.

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  14. #2034
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Povero Buoso View Post
    Although a really rubbish film this scene is one of my favourites in Bond. Coincidentally I realized several months after watching Tosca that this film was one of the reasons I half recognized the Te Deum and explain why I grew attached to that part of the opera rather quickly. The film also contains a truly memorable one line by one of the villains in the scene when he takes out his earpiece but continues watching while all the other villains (foolishly) get up and leave commenting to the opera goer next to him that "Tosca isn't for everyone". Small bone to pick though in that Bond may make a mistake with some of the villains here as the Te Deum is the last part of act one so some people standing up might just be leaving for the interval to get ahead in the drinks queue!(they are still therefore villains but maybe not part of a global conspiracy of evil...)
    Fascinating.

    I'd had heard the film wasn't that good but I'll make a point of seeing it now!

  15. #2035
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    A member of the Met Opera Orchestra describes what it's like.

    https://jasonhaaheim.com/whats-it-li...the-met-opera/

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  17. #2036
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Povero Buoso View Post
    Small bone to pick though in that Bond may make a mistake with some of the villains here as the Te Deum is the last part of act one so some people standing up might just be leaving for the interval to get ahead in the drinks queue!(they are still therefore villains but maybe not part of a global conspiracy of evil...)
    I'm pretty sure leaving before the interval *is* part of a global conspiracy of evil.

  18. #2037
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Not sure if there's any opera on here but I'll enjoy checking it out.

    http://www.newsworks.org/index.php/l...ee-to-download

  19. #2038
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Yesterday was 10th anniversary of the death of Pavarotti and last night there was a tribute concert from Verona screened on RAI.

    There were contributions from some pop/rock singers who I didn't know and from Gheorghiu, Carreras, Domingo, Bocelli, Grigolo and Meli. I can't remember if I've seen Meli live and if I have, I confess he didn't register with me. Last night he sang Una furtiva lagrima and it was stunning and I'm in love!! Very rare occurrence for me for a tenor.

    He's scheduled to sing Don José in a new Carmen at ROH next year.
    I'm going to the dress rehearsal and the production is double cast so I've got a 50/50 chance of seeing him then.

    Screen print from last night.

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  21. #2039
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    According to an article in the latest issue of Opernwelt, Anja Harteros will be singing Elsa in the 2018 Bayreuth Festival production that will feature Roberto Alagna in the title role. In a move that’s rather unusual for the Festspiele, only one of the Ring operas – Die Walküre – will be performed rather than the entire cycle. This lone portion of the tetralogy will be staged in the Castorf production that was actually supposed to have made its final appearance on the “Green Hill” this year. Catherine Foster will return as Brünnhilde, with Matthias Goerne as Wotan. On the podium will be Plácido Domingo; apparently, the commitment to engage him was made back when Eva Wagner-Pasquier was a co-director with her half-sister Katharina. According to the article, Frau Wagner-Pasquier was eyeing him as a possible successor to Kirill Petrenko, who left the Castorf Ring after 2015. (At least he won’t be singing Wotan . . . )

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  23. #2040
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Breaking news: Andrea Bocelli falls from his high horse

    http://www.msn.com/en-us/music/news/...aAq?li=BBnb7Kz

    Hm, OK, maybe not his *high* horse. But I couldn't resist.

    --------

    Also, he participated in an event in which a two-armed robot conducted the Lucca Symphony. Hm... OK. Will now robots replace conductors? Maybe it was just because no live conductor wanted to work with Bocelli so they had to get a robot.

    http://www.controldesign.com/industr...ony-orchestra/
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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