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Subject: Re: New Rosenkavalier - Reactions?
From: Estelle Gilson <[log in to unmask]>
Reply-To:Estelle Gilson <[log in to unmask]>
Date:Sat, 15 Apr 2017 15:06:51 -0700
Content-Type:text/plain
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Then Sophie will  be just like Orphan Annie whose 
father was a munitions maker too - Daddy Warbucks   - Remember?
Estelle


At 02:13 PM 4/15/2017, E J Michel wrote:
>The referral was that by placing the opera's time in 1911, Octavian would
>most likely be off to war in a few weeks and possibly die with the many
>young men of that generation who fought in WW1.
>
>It was mentioned by Ms Garanca in her taped interview with Ms. Heath that
>was aired during one of the intermissions (sorry i forget which one)
>Thursday night.
>
>
>
>
>Best regards,
>Elizabeth
>
>E J Michel
>===============
>[log in to unmask]
>
>
>
>On Fri, Apr 14, 2017 at 12:25 PM, Mike Leone <[log in to unmask]> wrote:
>
> > Hello all--
> > I don't think the ending of the Rosenkavalier has been a complete secret.
> > I read or heard something about the ending of the production from
> > when Covent Garden did it earlier this year, and there are probably
> > articles online about it.  I don't remember the details other than that it
> > was very pessimistic, and a far cry from Strauss' and Hofmannsthal's
> > magical conception.  The commentators on Thursday night kept hinting that
> > the Sophie/Octavian relationship could end up being very brief, and
> > somebody Ms. Heath interviewed--I want to say 
> Yannick Nézet-Séguin, but it
> > could have been Garança--said that Octavian could easily be dead three
> > weeks after the ending of the opera, killed in battle.
> > Nobody has commented on the fact that there was quite an outcry against
> > the members of the production team when they came out for their curtain
> > call at the end after Thursday night's prima.  The commentators didn't say
> > anything about the uproar.  When the Sonnambula was new, they at least
> > acknowledged that the response was mixed or whatever mild word they used.
> > Actually, I think the entire house was booing Mary Zimmerman after
> > that first Sonnambula and there was no "mixed" about it.
> > Mike Leone
> > [log in to unmask] il Leone!
> >
> >
> >       From: donald kane <[log in to unmask]>
> >  To: [log in to unmask]
> >  Sent: Friday, April 14, 2017 11:05 AM
> >  Subject: Re: New Rosenkavalier - Reactions?
> >
> > At first the nonsense about "the looming WW!"  didn't intrude too much;
> > it was easily overlooked in the sumptuous first act ( I loved the Italian
> > tenor bringing his latest shellac disc to present to the Marschallin); but
> > militaristic intrusions grew more disturbing in what appeared to be the
> > showroom of the Faninal cannon factory of Act 2, in which the most
> > despicable Ochs ever, accompanied by a uniformed regiment, signals
> > a bad ending - and the close of Act three is very bad indeed.  How has
> > this been kept a secret?
> >
> > dtmk
> >
> > On Fri, Apr 14, 2017 at 11:31 AM, Max D. Winter <[log in to unmask]>
> > wrote:
> >
> > > So - Where are comments on the new Rosenkavalier?  Surely some people
> > were
> > > there, and
> > > this is the first new production of the work at the Met in 48 years
> > > (replacing a much-loved
> > > production that, as of the HD several years ago, still looked pretty
> > good).
> > >
> > > Listening to it on streaming, it sounded like a great performance,
> > > musically.  I'm going to be
> > > seeing it next Monday and would be interested in reactions to the
> > > production (which, judging
> > > just from photos, looks beautiful).  I was a bit put off by the fatuous
> > > commentators' remarks
> > > about "references to the looming WWI" in the production.  What on earth
> > > does Rosenkavalier
> > > have to do with war?  I hope none of this nonsense intruded on the
> > > production.
> > >
> > > MDW
> > >
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