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Subject: Re: tosca
From: gordon young <[log in to unmask]>
Reply-To:gordon young <[log in to unmask]>
Date:Tue, 25 Apr 2017 07:33:56 -0500

text/plain (155 lines)

As some know I am a Youtube addict. One of the reasons is the ability to
see unusual repertoire and the more avant-guarde productions from Europe.
Frank is very fortunate to live where there are more venues for opera than
most of us have access to outside of the larger urban areas. If one lives
in New York City there are many large and small companies producing
interesting and varied operas. Now I am going to sound like Frank, few of
the smaller companies receive any comments on opera-l and these would be
the operas I would find most exciting. I read about them in the New York
Times and feel envy.

Frank mentions seeing Peter Maxwell Davies’ The Lighthouse. The Dallas
Opera did it in 2012 and Orlando Furioso was done 1980. We are lucky to be
close to Fort Worth and their opera, even though its season is too short,
does very interesting things. This year Carmen plus a mariachi opera Cruzan
La Cara de la Lune by Jose Martinez and Leonard Foglia and a new opera by
Matthew Peterson and Jason Zenke. It is also interesting that Fort Worth
Opera does supertitles in both English and Spanish.

Dallas Opera balances the old and the new. Next year we will get, Samson
and Dalila, Traviata and Don Giovanni but then we will have Sunken Garden,
an American premiere and Korngold’s Ring of Polykrates and the composer’s
Violin concerto (an interesting combination but how will the visual be

In the past I often traveled to Houston and New York to see other operas or
favorite singers. Today I have fewer favorite singers but back in the good
old days I saw all of Scotto’s major roles between Dallas and Houston. Saw
many Sill’s performances and of course who could forget Olivero. Kraus sang
in Dallas many times and still when someone today sings his repertoire in
my head I hear his sound.

The Dallas Opera is ending its current season with a traditional production
of Norma and there were aspects of the staging that I questioned as
strongly as I questioned the staging of the Tosca under discussion … well

On Tue, Apr 25, 2017 at 5:16 AM, Frank Cadenhead <[log in to unmask]>

> 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".
> >T.R.
> 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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