To be specific, I am refering to the Ballet, not the Opera. I cant speak to the Opera as I just cant go. I think supporting the arts is very important, but it genuinely disagrees with me...
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What to Wear: The Black Tie Wedding
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The State of Black Tie: Your Observations - Page 302post #4517 of 47749/28/16 at 7:45amQuote:
Opening night of a production is no biggie unless it is a world premier or some other factor that makes it special.post #4518 of 47749/28/16 at 8:13ampost #4519 of 47749/28/16 at 8:15ampost #4520 of 47749/28/16 at 8:18ampost #4521 of 47749/28/16 at 8:22ampost #4522 of 47749/28/16 at 8:45ampost #4523 of 47749/28/16 at 8:54ampost #4524 of 47749/28/16 at 10:07amQuote:
But this time it's set in space!
(I certainly don't mind new and interesting productions, but the concept of 'director's opera' needs to die a swift and merciless death.)post #4525 of 47749/28/16 at 10:08ampost #4526 of 47749/28/16 at 10:09amQuote:Originally Posted by culverwood
Not so well, they come and go and Glyndebourne is the only constant high quality country house opera. Though as you say it is hardly that any more.
That's unfortunate; it seemed like a charming idea, particularly for chamber operas.post #4527 of 47749/28/16 at 10:39amQuote:
I know what you mean, although I wouldn't go quite so hard on it. I prefer traditional productions, generally speaking, but sometimes a new interpretation can be really cool. I just wish there were more world premiers out there. Lyric rarely has them. The Met perhaps more often. But the smaller companies seem to really push the envelope with world premiers these days.post #4528 of 47749/28/16 at 10:55amQuote:Originally Posted by Caustic Man
I know what you mean, although I wouldn't go quite so hard on it. I prefer traditional productions, generally speaking, but sometimes a new interpretation can be really cool. I just wish there were more world premiers out there. Lyric rarely has them. The Met perhaps more often. But the smaller companies seem to really push the envelope with world premiers these days.
The larger companies are, by and large, extremely cautious about new work, and that has trickled down. My hope is that the mid-tier and regional companies will gradually become a little more brave.
For example, Missy Mazzoli's Breaking the Waves is getting rave reviews in Philly. I tend to find Vavrek's libretti pretty lifeless and thoughtless affairs, and Mazzoli's not my favourite composer, but it's a sign of hope, a least. American Opera Projects in Brooklyn seems to be a bit of a hub for Mazzoli, Lang, et al.
quick edit: Chris Cerrone's Invisible Cities is another good example, and there's fantastic HD video of it on his website/Youtube-- which is, incidentally, the only filmed opera (in the sense of using editing like a movie, rather than MetHD) that I haven't find instantly risible. Musically brilliant, even if Weaver's translation of the Calvino does trip him up at times.post #4529 of 47749/28/16 at 10:58am
Yeah, it remains to be seen where this all leads to. Just this year there has been two widely talked about world premiers though. And I don't mean that just opera fans are talking about them. I'm talking about Fellow Travelers and Shalimar The Clown, the latter of which actually got a lot of air time on NPR. Neither of which I got to see :(. I was ready to drive down to Cincinnati to see Travelers but the dates didn't work out.post #4530 of 47749/28/16 at 11:06am
I feel like the John Adams experiment was simultaneously too great a success and too big a failure. Houston commissions a massive hit in Nixon, it goes on to great success elsewhere, everybody gets very optimistic-- then Klinghoffer happens and everybody panics. (Adams basically stopped writing opera properly so-called; Alice Goodman ran off to Oxford and joined the clergy.) Now we're seeing a little more willingness to develop, but a great deal more caution.
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