Thread: Opera Small Talk

          
   
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  1. #526
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    I agree with Aksel. Some lovely music in the first 2 acts. And it looks like the lovely Kristine Opolais is singing Magda. I'd go.
    Natalie

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  3. #527
    Senior Member Involved Member Tardis's Avatar
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    Box Office Report from the Hollywood Reporter for the Live in HD transmissions 2012-2013 season
    North American sales:
    Elixir: $2.3 million
    Othello?
    Tempest?
    Clemency: $1.6 million

    Masked Ball: $2 million
    Aida: $2.6 million
    Trojans: $1.3 million

  4. #528
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Tardis View Post
    Box Office Report from the Hollywood Reporter for the Live in HD transmissions 2012-2013 season
    North American sales:
    Elixir: $2.3 million
    Othello?
    Tempest?
    Clemenza: $1.6 million

    Masked Ball: $2 million
    Aida: $2.6 million
    Trojans: $1.3 million
    So their tactic of putting the tired old warhorses on is popular and lucrative, which will mean more of the same. sigh.
    Natalie

  5. #529
    Member Recent member Sherlock Hamlet's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    So their tactic of putting the tired old warhorses on is popular and lucrative, which will mean more of the same. sigh.
    Well, I suppose I'm part of the problem (at least from this point of view) as, well...

    I tutor primarily ESL people and help them with their (often extreme) English difficulties and make less than minimum wage doing so...

    And for all my applying and applying I STILL don't have a steady job halfway through college...

    So if I'm going to pay $25 to see an opera at the movie theatre...well, it better be one that I have a reasonable chance of expecting I'll enjoy, given that YouTube can offer so many operas full-length, in many versions, and free.

    I am paying to go see a Verdi, I was going to pay and see another (Aidaabove), and if it'd been something besides The Clemency of Titus, I'd DEFINITELY have gone to see a Mozart (nothing against La Clemenza, I've just heard it so many times now I'm a bit tired of it at present.)

    A Mozart...a Verdi...a Puccini or Tchaikovsky...and so on...as long as it's not a duller piece, one I've grown a bit tired of, or a Wagner (as I just can't bring myself to pay for a Ring Cycle opera when I loathe the man, his attitude towards Mendelssohn and fellow Jews, and when I could go and see someone else...if it was with friends, maybe, but even then, he's so bombastic...I LOVE long movies and operas--my picture here's of my beloved uncut, 4-hour star-studded Branagh version of Hamlet after all, I have no problem sitting through long ones, in fact, for $25, I prefer it--but all that combined...no...but I've really digressed here, lol) I'd rather see one of THEM than risk all that money on a new production or new artist that I'm not sure I'll like, especially when I can often try him out on YouTube for free.

    So...yeah, I'm probably part of the problem there, sorry, lol.
    "There are more things in heaven and earth then are dreamt of in your philosophy" --Hamlet

  6. #530
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I'm not sure I'd categorize La Clemenza di Tito or Les Troyens as warhorses. They're part of the standard rep, but not performed nearly as often as Aida or L'Elisir d'Amore. Mozart's da Ponte operas, or Die Zauberflöte, are much more popular than Tito. Come to think of it, I'm not sure that Ballo in Maschera is as popular as, for example, Rigoletto, La Traviata, or Il Trovatore.

  7. #531
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by MAuer View Post
    I'm not sure I'd categorize La Clemenza di Tito or Les Troyens as warhorses. They're part of the standard rep, but not performed nearly as often as Aida or L'Elisir d'Amore. Mozart's da Ponte operas, or Die Zauberflöte, are much more popular than Tito. Come to think of it, I'm not sure that Ballo in Maschera is as popular as, for example, Rigoletto, La Traviata, or Il Trovatore.
    I'm guessing Natalie's reference to "warhorses" was at least partly in response to the box office numbers: Aida doing twice as well as Les Troyens, Elisir doing significantly better than Clemenza. Even if they're not all warhorses, the tried-and-true stuff definitely outsold the more adventurous fare.

  8. #532
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Amfortas View Post
    I'm guessing Natalie's reference to "warhorses" was at least partly in response to the box office numbers: Aida doing twice as well as Les Troyens, Elisir doing significantly better than Clemenza. Even if they're not all warhorses, the tried-and-true stuff definitely outsold the more adventurous fare.
    That's how I understood it (Natalie I mean)
    "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

  9. #533
    Senior Member Involved Member emiellucifuge's Avatar
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    Hope you're all well. I really struggle to find time to come here nowadays but I still consume the content Alma and his team posts which is still great and getting better!

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  11. #534
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by emiellucifuge View Post
    Hope you're all well. I really struggle to find time to come here nowadays but I still consume the content Alma and his team posts which is still great and getting better!
    Hi Emiel

    Hope all is well with you! Are you going to see Eugene Onegin?
    "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

  12. #535
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Amfortas View Post
    I'm guessing Natalie's reference to "warhorses" was at least partly in response to the box office numbers: Aida doing twice as well as Les Troyens, Elisir doing significantly better than Clemenza. Even if they're not all warhorses, the tried-and-true stuff definitely outsold the more adventurous fare.
    Yes, that's exactly what I mean. At the beginning of the season I wondered why we were getting yet another Aida( We had the same production two seasons ago) when we could have had Dialogues des Carmelites)/ But of course how I see why.

    From my point of view it's that I have seen the warhorses too often, live and on DVD, and want something a little more challenging. But I accept that I do not represent the Met's target audience.
    Natalie

  13. #536
    Senior Member Involved Member emiellucifuge's Avatar
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    Quote Originally Posted by sospiro View Post
    Hi Emiel

    Hope all is well with you! Are you going to see Eugene Onegin?
    I am going to see:

    ROH:
    Tosca

    ENO:
    La Boheme
    La Traviata
    The Barber of Seville

    The ROH is generally too expensive, and Ive seen Onegin before - so im focusing on operas ive not seen yet!

    Hopefully we can coordinate next season

  14. #537
    Senior Member Involved Member emiellucifuge's Avatar
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    Ooh did you all watch the ROH day on monday? For the whole day they broadcast live interviews, rehearsals etc...

    Here below you can see the whole 3rd act of Die Walkure with backstage action and everything!
    http://thespace.org/items/e0001h6q?t=5ftc

  15. #538
    Senior Member Veteran Member Aksel's Avatar
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    Quote Originally Posted by emiellucifuge View Post
    I am going to see:

    ROH:
    Tosca

    ENO:
    La Boheme
    La Traviata
    The Barber of Seville

    The ROH is generally too expensive, and Ive seen Onegin before - so im focusing on operas ive not seen yet!

    Hopefully we can coordinate next season
    I'm coming to see the the ROH Onegin and ENO Traviata and Medea the third week in February!

  16. #539
    Senior Member Involved Member AnaMendoza's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Yes, that's exactly what I mean. At the beginning of the season I wondered why we were getting yet another Aida( We had the same production two seasons ago) when we could have had Dialogues des Carmelites)/ But of course how I see why.

    From my point of view it's that I have seen the warhorses too often, live and on DVD, and want something a little more challenging. But I accept that I do not represent the Met's target audience.
    Perhaps they did Tempest for you? Or Les Troyens for you? They certainly didn't do those for the people who only like warhorses. Perhaps they did Aida for my sister, who knew nothing about it but the name. It was a wonderful discovery for her. ((I'd have loved to see her introduction to Dialogues of the Carmelites, though--she'd have appreciated it.)

    p.s. I'm in an incredible fit of the sulks at the rumor that they won't be doing a HD of Arabella or Die Frau ohne Schatten, next year. Maybe the rumor's wrong.

  17. #540
    Senior Member Veteran Member Aksel's Avatar
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    Quote Originally Posted by AnaMendoza View Post
    Perhaps they did Tempest for you? Or Les Troyens for you? They certainly didn't do those for the people who only like warhorses. Perhaps they did Aida for my sister, who knew nothing about it but the name. It was a wonderful discovery for her. ((I'd have loved to see her introduction to Dialogues of the Carmelites, though--she'd have appreciated it.)

    p.s. I'm in an incredible fit of the sulks at the rumor that they won't be doing a HD of Arabella or Die Frau ohne Schatten, next year. Maybe the rumor's wrong.
    It would appear to be correct. Which is a real shame. Schwanewilms' Kaiserin and Goerke's Färberin would have been amazing to see. As would Anja Harteros' (be still, my heart) Arabella.

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