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Subject: Re: La damnation de Faust - Mett on HD in Parsippany, NJ [Scanned]
From: Leslie Barcza <[log in to unmask]>
Reply-To:Leslie Barcza <[log in to unmask]>
Date:Sun, 23 Nov 2008 13:40:24 -0500

text/plain (48 lines)

The comments from Volpe, Russell <[log in to unmask]> raise an interesting
question, via the following comments: 
   >  I've seen the Lepage Damnation in the house already and the impact of the 
  choral work and the second act is even greater in the house.  I have many of 
  the same reservation about his flattening of the stage and some of his work 
  but found your comments about how he got the characters to interact very 
  true and much more apparent to me in the HD than from my balcony seat in 
  the house.  ...And you are absolutely right about Relyea.  Some of his best 
  work yesterday and much more so than he was live in the house.  I don't know 
  how much of it was the close-up views of his acting but even vocally he 
  seemed much more on yesterday than he did when I saw him live.

The question? Are we are seeing a broadcast of a work conceived for the
theatre, or is the theatre really a new platform for broadcasts?   How many
people will see the production in the theatre over x number of performances
(3000 or so in the theatre), vs the total who viewed the HD broadcast?
Surely there were more people watching via HD than will witness the entire
run at Lincoln Centre (screens in the Toronto area alone likely accounting
for 2000 people, but how many across North America?).  I can't help but
think that the Met is thinking in those broader terms with Lepage, as they
likely already did with Taymor's Flute (especially it's family version),
another production with a most curiously stylized use of the stage space.
Whereas Lepage gives us a flat stage picture, I felt Taymor fed the action
through a tube onto a platform in the centre of the stage.  Surely the
directors & designers are trying to think in terms of both media, not
privileging one over the other.

And reading the comments about Relyea and Giordani from other posters --the
charismatic young Mephisto, the tenor who kept watching the conductor --one
is reminded of this collision of paradigms and generations. While I was
craving the flamboyance of an earlier generation, Relyea's vocal and facial
mannerisms make a better match with the broadcast medium.   

  Leslie Barcza in Toronto    [log in to unmask]

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