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Subject: Re: Met Broadcasts We Wish We Had
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Mon, 11 Sep 2017 20:48:55 -0400
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I dunno. It would seem that Puccini had no problem with presenting two dramatic/tragic 
one-acts before the sorbetto-like Gianni Schicchi to end the operatic meal. perhaps that 
feels better to you because the 3 works obviously share a common compositional 
language, whereas R. Strauss and Puccini may feel like stranger bedfellows. 

I still remember as a teen, going to the operas at the Hartt School of Music, which were 
always wonderfully professionally done often better and more consistent than the 
Connecticut Opera performances in those years) - they did a double bill of Pagliacci and 
Bluebeard's Castle. (This would have been maybe 1979 or 1980?) If that wasn't an odd 
combination in of itself, it was a very traditionally-rendered Pagliacci followed by a 
"pychedelic" concept production for Bluebeard, involving abstract video projections as the 
set's backdrop (all seemingly expertly timed with the music - which floored me, lol). I 
remember it being stunning and very dramatic, and my memory is that the 2 singers 
were perfect in those musically very difficult roles. The Pagliacci was marred by a tenor 
on the faculty who absolutely should NOT have been singing Canio. (Oops...)

Speaking of double and triple bills - wasn't the Met supposed to be bringing back the 
French "Parade" evening? (Or maybe, I think, just the 2 operas minus the ballet?) They 
really should - along with the Stravinsky triple bill. 


On Mon, 11 Sep 2017 16:35:37 +0000, Bob Rideout <[log in to unmask]> wrote:

>All true enough, but I do think that there are other combinations
>that are at least as perverse.
>
>Elektra and Salome were presented with Gianni Schicchi
>as a matter of course at the Met over many years.
>
>It takes a very "special" mind to dream up stuff like that.
>
>Birgit Nilsson's first Met Salome with Karl Bohm was preceded
>by Don Juan. I think that's been done a lot in recent times. Smart!
>
>Bob
>
>On Mon, Sep 11, 2017 at 12:18 Max D. Winter <[log in to unmask]> wrote:
>
>> Paul Padillo wrote:
>>
>> "As was the custom, shorter works like Salome, Elektra, etc., frequently
>> got “tagged on”
>> performances of other shorter works; in this season’s case, Elektra was
>> partnered with
>> Menotti’s charming “Amelia Goes to the Ball.”
>>
>> Bizarre as that may seem to us, the reason the Met did that was because of
>> the contract with
>> its concessionaire, which required at least one intermission during a
>> performance (during
>> which patrons could partake of the concessionaire's wares).  This was the
>> reason Bodanzky in
>> 1937 cut "Rheingold" in two and inserted an intermission.
>>
>> One wonders why the Met did not seek out a new concessionaire who would
>> not require such
>> vandalism and bizzarie.
>>
>> MDW
>>
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