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Subject: Re: tosca
From: Frank Cadenhead <[log in to unmask]>
Reply-To:Frank Cadenhead <[log in to unmask]>
Date:Tue, 25 Apr 2017 06:16:31 -0400

text/plain (70 lines)

On Sun, 23 Apr 2017 15:25:32 -0400, Titu Rel <[log in to unmask]> wrote:
> Frank Cadenhead <[log in to unmask]> writes:
>"But the real story is how Tosca reacts to this new reality.
>She remains vapid and jealous during the first act but it is only her
>confrontation with Ailes/O’Reilly (read Scarpia) that her moral compass
>starts spinning".
>Cadenhead also writes:
>"America’s backwardness in this art means that creativity in opera
>production is entirely a European function".

Hi Titu, 
I know your reaction to my post makes you seem like a wacky, ugly reactionary 
incapable of any sort of reasoned discourse.  I suspect that this characterization is 
not entirely true because you are a member of Opera-l. It is more and more 
occupied by ranters like you pretend to be (and is only a ghost of what it was like a 
few decades ago) but I know you, and all of us, fundamentally love opera.
Let me tell you what my current opera agenda is and we can talk about our mutual 
interests. Tonight I will be seeing The Snow Queen from Bastille. It is being 
broadcast in theaters around the world and on the internet live all over Europe. 
Friday is the last performance of The Lighthouse (Peter Maxwell Davies) at the 
Athenee. Looking forward to that! May 2 it will be Wozzeck at Bastille but you 
probably would not like the Marthaler production. In two weeks Nebs can be seen 
in our own Onegin at Bastille but you would not like the Decker production! The 
new production of Pelleas is opening at TCE on the 9th but you will not like the 
rough Ruf production. There was no production to dislike on the 19th, a concert 
performance at TCE of Vivaldi's Orlando Furioso. This splendid, vivid performance 
which make you wonder why this masterpiece is not seen more in houses. May 
also has Pearl Fishers and Ariodante in concert at TCE. I have tickets to the 
Comique's production of Alcione next week (an opera by Marin Marais, conducted 
by Jordi Savall who was also involved in that film "Tous les Matins du monde" 
which made the composer's name well known). It opens tomorrow night. You 
would not like the production of Louise Moaty which certainly takes liberties with 
the text. Then there was the opening concert of the new dramatic concert complex 
("La Seine musicale") that opened over the weekend at an island in the middle of 
the Seine. The Auditorium's opening concert was the Insula Orchestra and their 
conductor Laurence Equilbey. The first work was absolutely astonishing. I have 
never heard 18 yo Mozart's La Finata Giardiniera (German version) but the concert 
opened with parts of that. Then there were gripping excerpts from Die Freischutz 
and I wonder why this opera is not more on stages. It finished with Beethoven's 
Choral Fantasy.  This concert can be streamed. Another on the internet is 
Offenbach's Fantasio. The new reconstruction which I saw at Chatelet Feb. 20 still 
remains in my head and I understand what it might seem like to be at the first 
performance of a real masterpiece. This is also on the internet but you would not 
like Tomas Jolly's production. I hope you can let me know what is on your calendar 
for the next few weeks and we can get a dialogue going about new trends in 
opera. I hope all here will find some of these things on the internet. We used to get 
posts about coming events for streaming but nobody showed the slightest interest 
on Opera-l so they stopped. Titu, I look forward to your report on your next few 
weeks of opera. It would be good if we can get more thoughtful exchanges about 
opera repertory, performances and productions going. 
Frank Cadenhead

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