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Subject: Re: Booing at the Met
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Fri, 27 Oct 2017 23:05:30 -0500
Content-Type:text/plain
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I can't imagine who the soprano was who sang this particular Tosca, but I'm willing to venture that she was not an internationally known soprano.   I know of no internationally known soprano Tosca, living or historical, who would participate in such a staging as that which is being described here.  And what did she do?........sing "Scarpia, avanti a dio" immediately before pulling the trigger?   Absolutely insane!

     This is the first time I've ever heard of the finale of Tosca staged like this, but I guess that today, anything is possible.

> On October 27, 2017 at 8:09 PM Kathy Boyce wrote:
> 
> 
>     I saw that Tosca too, and thought it very well done. There was no place
>     for her to jump to, so shooting herself made perfect sense to me.
> 
> 
>     On 10/27/17 5:53 PM, Jon Goldberg wrote:
> 
>         > > I don't boo. I would rather simply not applaud.
> > 
> >         I saw a quite enjoyable performance of Tosca in Boston a few weeks ago, which was
> >         marred by a horrible and inane "alternative fact" ending in the staging. Oh, I wanted to
> >         boo so badly as Tosca oh-so-conveniently found a gun and shot herself, flopping
> >         backwards over Mario's body on the ground in an unforgivable bit of (what I saw as) truly
> >         comic slapstick.
> > 
> >         But I didn't.
> > 
> >         I held my applause until the singers came out for their bows - they deserved the applause
> >         wholeheartedly. I likewise applauded the conductor and orchestra for their fine work. I sat
> >         on my hands otherwise, and did not stand for the de facto standing o. I left with a
> >         figurative bad taste in my mouth - for all the good musicianship in the performance, I
> >         truly felt cheated by the cheap ending.
> > 
> >         But I didn't boo. I just don't believe in that. I'll boo at a bad play at a Sox game, but I
> >         don't boo at theatre or opera. I personally think it's rude and that it really DOESN'T do
> >         anything other than get looks from the audience around you. (I tend to think most so-
> >         called "innovative" productions *expect* the production staff to be booed anyway - it's no
> >         more meaningful than a meaningless standing O.)
> > 
> > 
> > 
> > 
> >         On Fri, 27 Oct 2017 21:24:24 +0000, tom ponti wrote:
> > 
> >             > > > I see nothing wrong with booing a hideous production's designer or director. As for
> > > 
> > >         > > singers I would usually never boo a singer for having a bad night or not beigh really right
> >         for a role. I confess though that I did boo a singer just one time. The singer was, of all
> >         people, Corelli. It was not because he was having an off night in Wherter but because to
> >         cover his vocal problems he started shouting, which I thought very unprofessional for a
> >         great tenor especially because he also resorted to over acting in such a way as to upstage
> >         Crespin, who was wonderful as Charlotte. That was the only time I ever booed any singer
> >         and I am happy to say that I had good reason to cheer Corelli, many times.
> >         >
> > 
> >             > > > ________________________________
> > >             From: Discussion of opera and related issues on
> > > 
> > >         > > behalf of Tom Frey
> > 
> >             > > > Sent: Friday, October 27, 2017 4:53 PM
> > >             To: [log in to unmask] mailto:[log in to unmask] .ORG
> > >             Subject: Re: [OPERA-L] Booing at the Met
> > > 
> > >             I totally despise the Met current Rigoletto and Traviata. I would not pay to see them.
> > > 
> > >         > > But I don't boo at a performance. It's not the singers' fault in most cases and it seems
> >         very lowbrow and coarse to me. What I would do if I'm very chagrined is write to the
> >         company putting on such atrocities and not buy a ticket to see whatever they stage. It's
> >         too much of a gamble. I love opera but when it's made into a farce, I stay home. I also
> >         hate the Met's Manon and the cliché of all the chorus is clothed in black suits , And also
> >         productions with a lot of empty chairs. Why can't companies trust the power of the music
> >         when doing opera and not go awry with staging. décor. costumes and whatever ruins the
> >         experience for the paying customers?
> > 
> >             > --- Original Message -----
>             From: Donald Levine
>             To: [log in to unmask] mailto:[log in to unmask] .ORG
>             Sent: Fri, 27 Oct 2017 12:28:13 -0400 (EDT)
>             Subject: Re: Booing at the Met
> 
>             I have been attending opera at the Met and all over the world since my
>             first in 1964. I have seen many truly crappy productions, bad
>             performances, instances where the singes should have stayed home or found a
>             different profession. I have pretty high standards but I have never booed
>                 * nor would I ever. I know what goes on to get an opera on stage and what
> 
>             singers go through to train and prepare their roles. Let the booers get
>             off their fat asses and do better. Vulgar.
> 
>             Donald
> 
>             On Thu, Oct 26, 2017 at 8:57 PM, G. Paul Padillo
>             wrote:
> 
>                 > > recall a rather vociferous booing at the prima of Mary Zimmermans
> >                 “Sonnambula”
> >                 production. I remember quite a few list members taking Margaret Juntwait,
> >                 (may she rest
> >                 in peace) and Will Berger to task for waiting so long (literally less than
> >                 about 30 seconds) to
> >                 acknowledge that not everyone in the house was pleased with what they saw.
> > 
> >                 The Bondy "Tosca" (which I enjoyed) had some of the loudest booing I can
> >                 recall hearing
> >                 from the Met. I remember at the HD presentation an elderly gentleman
> >                 saying how much
> >                 he enjoyed seeing it, but “my goodness gracious, from that audience
> >                 reaction the other
> >                 night, you would’ve thought they had set it on Mars.”
> > 
> >                 After several successes in other roles, Alexandra de Shorties, unwisely
> >                 (but at the urging of
> >                 the Maestro) took on Konstanze in "Die Entführung aus dem Serail" and
> >                 while the last
> >                 strains of "Martern aller Arten" were still echoing, one lone voice began
> >                 booing, cackling at
> >                 her rattling the artist to the point friends told me she was visibly
> >                 shaken and it affected the
> >                 rest of her performance.
> > 
> >                 The most recent booing incident I can recall was during the prima of the
> >                 new
> >                 "Rosenkavalier" this season. I was listening on Sirius and was STUNNED by
> >                 the sound of
> >                 what seemed to be an angry mob!
> > 
> >                 The most unsettling booing I can recall was at the Met prima of Glass’
> >                 "Satyagraha." The
> >                 long evening held many, like me, enthralled and transported. As the voice
> >                 of Richard Croft
> >                 and the orchestra faded off from some of the most gently beautiful final
> >                 bars in all of opera,
> >                 a group, who’d clearly waited all night for this moment began screaming
> >                 “BOOOOOO!” at
> >                 the top of their lungs. The effect was was jarring and I, and several
> >                 thousand others who
> >                 hadn't even begun applauding were all taken by surprise. It didn't ruin
> >                 the evening - it
> >                 couldn't - but it did jolt us all out of the effect Glass and the Company
> >                 had taken hours to
> >                 achieve. Shame on those dolts!
> > 
> >                 p.
> > 
> >                 **********************************************
> >                 OPERA-L on Facebook:
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--
Kathy Boyce
[log in to unmask] mailto:[log in to unmask]

New Hampshire
And the night shall be filled with music... Longfellow
http://www.cafepress.com/operabayreuth


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