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Subject: Zachary Woolfe seemingly on a kill mission
From: James Camner <[log in to unmask]>
Reply-To:James Camner <[log in to unmask]>
Date:Sat, 16 Dec 2017 10:44:23 -0800

text/plain (45 lines)

It is nearly a year and a half since I moved to Los Angeles. Things have
evidently not gotten better at the Met Opera since I last saw Don Pasquale
in an empty house.

And now this Merry Widow review from the New York Times and their callow
critic Zachary Woolfe:

I can't remember reading a critic concluding a review by telling the reader
not to buy a ticket and to look elsewhere for their entertainment. The
review is the usual shallow work of Woolfe, did he manage to mention the
famous Merry Widow Waltz (which was THE most celebrated and influential
single melodic composition of the era?)

And he advises us that "Le Nozze di Figaro' is a far greater opera...".
Well yes and no, Figaro is a comic opera and the Merry Widow is a musical
comedy so it's apples and oranges. But if one were to not go to operas
because they are not as good as Figaro, well, there are probably only a
half dozen operas, if that many, that can be ranked with Mozart's supreme
masterwork, so where does that leave the reader? What is the point?

In my years of going to opera I have read many abysmal critics in the New
York Times, but the current crop of writers at the Times does make me long
for the likes of  Donal Henahan.

Meanwhile with the Met in the serious trouble it is in, how can it cope
with one of their few lifelines left to the public which the New York Times
surely is, telling their readers to go to a Karaoke Bar instead?

James Camner

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