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Subject: Re: Rosenkavalier at the Met / FT review
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Tue, 18 Apr 2017 20:03:35 -0400
Content-Type:text/plain
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You're probably right about the Family Circle, but I wanted to see
everything
so I chose Row B orchestra, and got an earful of remarkable horn playing;
Strauss really put those those guys to work; it was his father's
instrument, wasn't it?  But I was able to enjoy Erin Morley's striking
resemblance to
Norma Shearer,  (as Juliet in one of my favorite films); she and Elina
Garanca
were a joy to watch as Sophie and Octavian.  Sitting  close let's you enjoy
every visual delight of  the Act One's levee that might be lost from a
location where the voices sound better.  The baron Ochs, in a particularly
loathsome
interpretation for this production, may have a fine voice, but it does not
bloom
that close to the footlights. I didn't mind the dubious decor of the first
two acts;
they provide a layer of eye candy that Strauss's music demands, but the
degradation of Act Three, reveals the true revisionist objectives of a
staging of
DER ROSENKAVALIER  that is doomed to be shelved sooner than most..

dtmk



On Tue, Apr 18, 2017 at 3:19 PM, tom ponti <[log in to unmask]> wrote:

> Sounds like another idiotic, waste of money, unnecessary new Met
> production. Thank God for dvds and You Tube! At least there was the
> glorious music and an excellent cast. The Family Circle would be the place
> to sit for this production-LOL!
>
>
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of Miguel A De Virgilio <[log in to unmask]>
> Sent: Tuesday, April 18, 2017 2:47 PM
> To: [log in to unmask]
> Subject: [OPERA-L] FW: Rosenkavalier at the Met / FT review
>
> -----Original Message-----
> From: mb [mailto:[log in to unmask]]
> Sent: Tuesday, April 18, 2017 10:38 AM
> To: 'mb' <[log in to unmask]>
> Subject: Rosenkavalier at the Met / FT review
>
> https://www.ft.com/content/c6720550-2419-11e7-a34a-538b4cb30025
>
>
>
> OPERA
>
> Der Rosenkavalier
> Metropolitan Opera, New York
> MARTIN BERNHEIMER
>
>
>         Remember +Der Rosenkavalier+, Richard Strauss' lavish and lush
> evocation of lust and love in the romantic court of Maria Theresa? Forget
> it.
>
>         The mighty Met has come up with a cool new version that plays
> loose with traditional time and place, not to mention mood and manners. It
> drew some lusty boos as well as some brave bravos from a big crowd at
> Lincoln Center last week.[[eds:Thursday]]
>
>         Robert Carsen, the director, and Paul Steinberg, the designer,
> have vaguely forwarded the plot to the Habsburg Empire, ca 1911 - the time
> of the opera's premiere. Act One, which used to depict the Marschallin's
> boudoir, now takes place in a garish-scarlet picture-gallery within a
> picture gallery within yet another identical gallery. It is cold and
> symmetrical, its massive, misplaced bed notwithstanding. Act Two, set in
> the nouveau riche Faninal's home, apparently plays out in a munitions
> factory. Ah, sociopolitical commentary. Act Three, formerly a seedy inn,
> has become a sleazy bordello, complete with flashy fleshy employees. Ah,
> modified rapture.
>
>         The Marschallin serves as a much publicised vehicle for the
> hopefully magnetic soprano Renée Fleming. She still looks glamourous, acts
> emphatically prima donna-ish, sings carefully (better soft than loud) and
> ultimately diminishes the reflective pathos at hand. Günther Groissböck
> makes Baron Ochs tough, raunchy and dangerously amusing, an impetuous
> ruffian generously equipped with a deep-deep basso. No fat clown clichés
> for him. Erin Morley soars sweetly as the chronically sweet Sophie. She is
> credibly and creditably wooed by the impetuous mock-macho Octavian,
> beautifully and dutifully performed by Elina Garanca.
>
>         Exceptionally firm support is provided by Martin Brück, making his
> debut as the fussy Faninal, Helene Schneiderman, also new, as the scheming
> Annina, and Matthew Polenzani, luxuriously cast as the justifiably
> egocentric Italian tenor who briefly serenades the Marschallin.
>
>         Sebastian Weigle of the Frankfurt Opera conducts with admirable
> care for both expressive intimacy and temperamental bravado. He accompanies
> the singers most diligently, proving that he knows exactly when to lead and
> when to follow. He also draws symphonic splendor, as is customary, from the
> great Met orchestra.
>
> ***
>
>
> Metopera.org
>
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