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Subject: Re: Rusalka at the Met / FT review
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Mon, 6 Feb 2017 03:38:49 -0500
Content-Type:text/plain
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text/plain (112 lines)


Re: Atlanta.

Do not count your chickens before they are hatched.

:)

We are No. 1  !!!

Best from (a victorious) Boston.
Ray

***
> On February 5, 2017 at 8:43 PM Jon Goldberg <[log in to unmask]> wrote:
> 
> 
> The Prince is the "resident lecher"? Really? (Unless Mr. Bernheimer is merely describing 
> how Zimmerman has him portrayed in this production, which I have not seen yet. I have 
> certainly never considered him a lecher. Ironic, since we've had all this talk about 
> Pinkerton lately, lol.)
> 
> I also disagree that the Foreign Princess is unrewarding (or has "unrewarding plaints." Isn't 
> there an over-the-counter remedy for that, lol?).
> 
> 
> On Sun, 5 Feb 2017 16:48:15 -0800, janosG <[log in to unmask]> wrote:
> 
> >[and Atlanta is ahead *21*-0 !!!!!]
> >
> >https://www.ft.com/content/d7b9dcc8-e9fb-11e6-967b-c88452263daf
> >
> >Financial Times / Arts / Feb. 5m 2017
> >
> >
> >Rusalka
> >Metropolitan Opera, New York
> >MARTIN BERNHEIMER
> >
> >
> >	Dvorà k’s lovely, poignant, melodic fairy-tale had its premiere in Prague back in 
> 1901. The mighty Met finally discovered its fragile charms in 1993.
> >
> >	At that time the company utilised a much traveled, essentially realistic production 
> staged by Otto Schenk. The magnetic protagonist, half woman and half water-sprite, 
> served as a grateful vehicle for the fine Slovak diva Gabriela Benacková, eventually 
> succeeded by Renée Fleming at her voluptuous best.
> >
> >	Still, the challenge survived only 27 performances, the last in 2014.  Audiences 
> remained sparse, and such was the case on Thursday when +Rusalka+ returned in a semi-
> surreal production directed by Mary Zimmerman and designed by Daniel Ostling. Crucially, 
> often cleverly and always intricately, it was  choreographed by Austin McCormick[[cq]].
> >
> >	It could be convincingly argued that a new serving of this sardonic slice of late 
> romanticism represented needless extravagance. Still, the extravagance turned out to be 
> an intriguing, if sometimes slightly perverse, on this occasion.
> >
> >	Zimmerman chose to play the action in a surreal box-set, a stage within the stage. 
> Baroque in form, it harboured a massive tree. The gnarled wood provided a convenient 
> resting, ultimately dying, place for the brave water-sprite who surrenders everything she 
> owns to unite with an ultimately callous mortal. While the pretty milieu tended to 
> contradict the gushing score, it did make ritualistic sense.
> >
> >	Kristine Opolais conveyed the heroine’s essential innocence with properly 
> subdued rapture and, a few harsh climaxes notwithstanding, sang radiantly. Eric Owens 
> bumbled and grumbled imposingly as her paternal water-gnome. Despite royal robes, this 
> monarch almost made one overlook his dwelling in a lake that resembled a sunken bath-
> tub.  Jamie Barton gobbled the lusty-nasty-witchy flailings of Ježibaba. Katarina 
> Dalayman did what can be done with the unrewarding plaints of the Foreign Princess, and 
> Brandon Jovanovich nearly made the resident lecher sympathetic.
> >
> >	Mark Elder sustained propulsion and pathos in the pit with much authority, even 
> urgency. The great Met orchestra responded accordingly.
> >
> >
> >
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