OperaNow! #26 - The Full Monty (verdi)

And We're Back!...Bryn Terfel kicks ass and take's names in Sweeney Todd in London...Eurotrash directors are hijacking Mozart...Monteverdi dinner theater...Matt Worth is a hunk!...Indiana student moves to New York!...Guess Who Died? (Too many to name here)...special bonus interview with Tom and June Rice about their encounter with Beverly Sills.

This week we have Brian Macgilvray and Oliver Camacho...(and despite what I say on the show, Ethan is not dead to me.)

Comments

[Fagaro]

I have to add that the other principles in AEMF's La Calisto were formidable. Seth Gilman is a hilarious, and versatile bari-tenor; a perfect Giove.
Sara Henry...an androgynous, sexy, and menacing Diana. Gerrod Pagenkopf...the scene stealing, under-endowed Satirino. Lara Carr...truly nymph-like, super-model good looks, and sparkling as Lymphea. Tim Galloway...tenor? alto? both perhaps...and splendid in a role that I was to prepare in the event he couldn't do it. I am glad he was there, even though we both ended up bare-chested as Satyrs. Please do not do a google-search for me in a satyr costume.

[jean jay broekhuizen]

I thoroughly enjoyed today's show, back and better than ever, I say! Just FYI, "regie" is pronounced with a French accent auf Deutsch, so I believe it is something like "reh-dgee-te-a-ter" (soft g, long e in theater--you know what I mean...gotta learn IPA symbols on this keyboard, yo!). Just thought you shouldn't give those damn Germans something to pick on while you're picking on them!

I thought the show had many valid points on this subject, and I especially applaud Michael for mentioning that the US is not Europe, Europe not the US, and we ought not feel that either needs to emulate the other. As an American currently residing and working abroad, I become more and more convinced that while it is interesting to note what is different between these two continents socially, artistically, etc. and learn from this, comparing and making blanket statements regarding where the better "art" or way of living exists serves no purpose other than alienation of one side or the other. It goes without saying that there is great art and shitty art and mostly a lot of in between art in the States and in Europe.

BUT, for the record, I still think people with fake accents are Eurotrash. Take THAT, Madonna!

I also wanted to mention that I was involved in the COT production of Poppea and thought that it was insightful, exciting, interesting and totally appropriate--not at all out of the realm of what this opera should be. I think it is important to distinguish between director-controlled theater that is simply seeking to shock and has no relationship to what the opera is about, versus an interesting interpretation which may give way to an "aha" moment, draw a new audience to opera, or simply be entertaining after your 50th "traditional" (read, recycled warhorse) Carmen. To use an umbrella term like "regietheater" and name the COT 2004 Poppea as such is not accurate, in my opinion. And though there was definitely a "white house" feel to this production in making Nero look Presidential, and Ottavia like a first lady might, it is not as though there was a clear reference to the Clinton administration. Nor was there a blowjob scene in the oval office, so I don't think it qualified as "regietheater" in the perjorative sence. It was a great show and one of the highlights of my operatic journey thus far, I look forward to seeing future Paulus/Glover collaborations at COT and elsewhere.

I LOVE OPERA NOW! Throwing virtual panties at all three panelists for a show well done.

[bsmac]

I'm not aware of any cut and dried, exclusionary definition of the term "Regietheater" but I'm pretty sure it ought not to be: "If I liked it, it wasn't." Anyway, for the record there was no real intention to make general comparisons between or statements about European and American culture during our discussion of "Reggie" Theater - essentially a European trend but one whose more "adventurous" aspects have long been percolating and seeping, like a mephitic ulcer, into our continent whether anyone likes it or not. Anyone can draw the line where he or she pleases; for a traditionalist like me it's basically when the director mistakes logical contradiction for interpretation.

[bsmac]

Also I should add I didn't see the COT Poppea and and didn't mean to label it one thing or another (if it came across that way). I also know people who were involved in it and heard many good things. I'm still allergic to most "updated" opera productions, but don't expect anyone else to go along with me. Not saying it can't work, and I have seen it work, but usually it doesn't IMO.

[jeanb]

touchée, bsmac, you got me on that one. i am only used to hearing people use the term "regietheater" in a negative sense, but just because i liked something doesn't make it not "regietheater". good call.

and yup, i lurved poppea. hope to make your acquaintance one day. peace out!