[log in to unmask] wrote:
> But consider these realities: both Lyric Opera of Chicago and the
> Metropolitan Opera have scheduled new productions of the opera in coming
> seasons with the same two principals.
> Given this degree of financial investment and all the future contingencies
> riding on the success of the production, could the Seattle Tristan have turned
> out to be anything other than a resounding triumph? To what extent can a
> performance be objectively judged when so many non-artistic factors are
> pressing for a positive outcome?
Enzo, if your theory is true, the Met "Lohengrin" last season should
have turned out to be nothing but a resounding triumph in the media and
on this list. Tons of money invested, outstanding singers in the
principal roles. And many people spent a fair amount of $ to travel to
NY - when I attended, my seat-mates were non-opera-l travelers from the
West Coast to the Lohengrin. But it didn't work out that way. The
Seattle "Tristan" could have easily turned out like the "Lohengrin", as
its director has also been the cause of "controversial" productions in
the past, and even outside the provinces (i.e., the Met), as R. Wilson
was in "Lohengrin".
Therefore, my honest answer to your honest question, based on the above
evidence, is that, yes, it could easily have turned out to be other than
a resounding triumph.
Peggy Harrison, Alexandria, VA
mailto:[log in to unmask]
"Music for a while shall all your cares beguile"