Operettas at the Met- Page 2

[OperaBwayLover]

Posted: 1/6/14 at 3:44pm

I listened to the premiere of the new production on New Year's Eve via Sirius, and I loved it. How nice to have a Fledermaus in the same language-have heard many a production where the dialogue is English and the singing is in German, which is jarring. And the jokes weren't too corny like some I've heard before. Burstein's Frosch was great. Wishing this was an HD telecast.

Over on Standing Room, the Met's message board, the opinion about the new production is mixed, while slightly leaning more toward positive. The majority seems to be grateful that the setting wasn't updated to contemporary New York, as Peter Gelb wanted. Ugh.

[Rinaldo]

Posted: 1/6/14 at 4:47pm

The Met has been doing Fledermaus since 1951, in various productions (and there's a long tradition for casting a comedian-actor as Frosch there: Jack Gilford played it for many seasons, and after him Sid Caesar and Dom DeLuise, among others).

They've tried others. As previously mentioned, Offenbach's La Perichole lasted through the 1950s and 60s, and excerpts were recorded. They tried a Gypsy Baron, but that was an immediately flop. More recently, a production of The Merry Widow lasted for several seasons.

But it should also be mentioned that several of the operas regarded as "real" operas have spoken dialogue between numbers. Carmen was written that way, and performed that was for several decades, but I believe they've now reverted to a version with recitatives (more practical to plug replacements into, I suppose, but less effective). Also consider The Magic Flute: serious arias alernating with light popular-style music (of the 18th century), with dialogue between. Some seasons they do a streamlined 90-minute version in English (they use the English title to distinguish it from the German original) as their family show -- it's on DVD, the production is by Julie Taymor, and it's very enjoyable.

[PalJoey]

Posted: 1/6/14 at 4:55pm

The second-act set for Fledermaus is one of the most spectacular I have ever seen at the Met:

[AntV]

Posted: 1/6/14 at 5:02pm

I was trying to see The Magic Flute as well, but missed out on the weekday rush by about 10 people twice! Went earlier the second time and there were more people since it was tourist season. I will have to seek out the DVD. I see the only show in English remaining this season is The Enchanted Island, is there a lot of recitative in that?

[Play Esq.]

Posted: 1/6/14 at 5:31pm

Yes....lots. And it's a pastiche: essentially a jukebox musical of baroque pieces. I wouldn't recommend baroque opera for someone just getting into the genre (and it is wonderful that you are!) and much so the production drags quite a bit. That said, as a theater fan, you might enjoy the fact that the director is Phelim McDermott. The only reason for my going again during this run is for the exquisite Susan Graham. Also, to his credit, Domingo really hams it up for this production and it somehow works.

You may want to consider seeing the wonderful Anthony Minghella production of Madama Butterfly. Contrary to AfterEight's statements against "modern" productions, this Butterfly transcends any "traditional" production of the opera that I have seen. (If you go, try to see it with Opolais: she's quite the talent and her Cio-Cio-San has been very well received elsewhere.)

Like PalJoey, I too enjoyed Falstaff, but I wouldn't recommend it as a first Verdi opera (for my money, I would chose La Traviata, especially in Willy Decker's incredibly sexy production at the Met...returning next season).

Hope you enjoy whatever you see...please report back!

[Play Esq.]

Posted: 1/6/14 at 5:39pm

Just a few more suggestions!

Rusulka: Essentially the Little Mermaid story (as told by Czech author Karel Jaromír Erben). Young Phenom Yannick Nézet-Séguin is conducting and this is rumored to be Rene Fleming's last Rusulkas at the Met. Not too heavy on the recitatives and the music by Dvorák is glorious!

Prince Igor: Perhaps wait for the reviews on this one, but this new production marks director Dmitri Tcherniakov's debut at the Met. Known for his unflinchingly human productions, I have high hopes Tcherniakov will leave quite an impression and, one hopes, start a nice long relationship with the Met. This is the production I have been most excited about all season!

Enjoy!

[PalJoey]

Posted: 1/6/14 at 6:01pm

I'm looking forward to Werther.

[Rinaldo]

Posted: 1/6/14 at 7:03pm

I second the recommendation for Rusalka: Dvorak wrote a gorgeous score start to finish, and the Met production is beautifully designed in atmospheric romantic-fantasy style. It's getting top talent this year: Nezet-Seguin conducts, Renee Fleming is the water nymph (one of her best roles), Dolora Zajick is the witch, Piotr Beczala is the prince. It's performed in Czech, but the Met has a terrific subtitle system on the seat in front of you, that you can turn off if you don't want it.

This opera is also getting a simulcast at the movies on February 8.

[GoSmileLaughCryClap]

Posted: 1/6/14 at 7:17pm

Rusalka is pretty much the equal of Dvorák's best symphonies. It is unbelievably beautiful with late classical and rustic shadings. It can go from child-like simplicity to dense structure in 12 bars.

I'm so happy it's survived as something of a repertory title, if not staple.

Updated On: 1/6/14 at 07:17 PM

[GavestonPS]

Posted: 1/6/14 at 8:16pm

MADAMA BUTTERFLY is an excellent suggestion! It is grand opera, not operetta, but I taught it for years in theater classes and the students enjoyed reading the libretto as they would enjoy a great play. (You can get a copy at the library.)

And the music by Puccini is glorious!

[EricMontreal22]

Posted: 1/6/14 at 9:17pm

I'm a big Tchaikovsky fan and I think his operas, particularly the two standards Eugene Onegin and Queen of Spades (not sure if the Met has a production of that or not) are spectacular and there are good traditional Russian versions on DVD (for Eugene I'd recommend the Bolshoi's reconstruction of their early 20th Century production and the Kirov's Spades which has an expectedly great ballet bit.) They are fairly long, and Spades is particularly pretty heavy but if you know Tchaikovsky's ballet music, the music is accessible.

I'm glad that the Met is getting a Prince Igor (much of the music would be familiar to a Kismet fan.) Any word on who is choreographing the famous Polovstian Dances? I have a hard time watching them without the iconic Fokine choreography (which, granted, is not the original--Lev Ivanov, the original co-choreographer of Swan Lake and choreographer of Nutcracker did the Russian premier.)

Madama Butterfly is an easy going "gateway opera" as mentioned as well--as is of course Carmen (I vastly prefer the show with dialogue although it often shows the poor french pronounciation of its performers--something you don't notice with the singing.)

[Rinaldo]

Posted: 1/6/14 at 10:04pm

The choreographer for Prince Igor is Itzik Galili, of whom I know nothing. Dmitri Tcherniakov is both director and set designer.

Another easy-to-love "gateway opera" is La Boheme (on which Rent was based). Puccini's music is instantly catchy, the story is universally relatable (young people starting out in life, trying to get along as best they can in the city). The Met has a spectacular production that they've put on video more than once, and they put it on the schedule almost every season for 20 performances or so -- it's that universally popular, it always sells.

[inception]

Posted: 1/6/14 at 10:06pm

Back when Howard Dyck used to host CBC's Saturday Afternoon at the Opera (which plays the Met broadcasts during their season, and new live recordings from other places the rest of the year) something that always used to be mentioned about what opera's new listeners should try was the ABC's: Aida, Boheme, and Carmen.

At home, the opera is the only live theatre I really regularly attend since the production values and quality of works presented are much better than anything put on by the regional playhouses. Unfortunatly, subscribing to two regional opera companies means that I have seen a few too many Bohemes's and Traviata's. While it might be nice for new listener's, it gets a bit boring. The worst is that now one company has decided to woo young listeners not with interesting works but instead has decided to follow the lead of many regional houses in the US and programs lighter fair and musicals. Next season we will face the indignity of seeing Sweeney Todd at the opera.

I and a few friends have started what we hope will be a good method of protest - we have asked the boys at the cities four bathhouses to refuse service to anyone who works for the opera and we will reimburse them a goodly amount for each incident. We figure they're already screwing their audience, why should they get to screw anyone else.

[jayinchelsea]

Posted: 1/6/14 at 10:14pm

DIE FLEDERMAUS was a major disappointment. Douglas Carter Beane did this piece no favor with his flat, crude adaptation, and with the exception of the physical production, the evening was an endless bore, nearly four hours of humorless, forced gaiety.

[EricMontreal22]

Posted: 1/6/14 at 10:16pm

LOL! What city do you live in, out of curiousity? Apparently CBC is ending their opera broadcasts (which is pretty horrendous of them, IMHO.)

Boheme is an easy choice--I really like Baz Luhrman's production on DVD from Australian Opera, but some might object.

[frogs_fan85]

Posted: 1/6/14 at 10:21pm

The Met has a pretty solid production of Queen of Spades, EricMontreal22. It was done about three seasons ago with Karita Mattila as Lisa.

[After Eight]

Posted: 1/6/14 at 10:30pm

"I vastly prefer the show with dialogue although it often shows the poor french pronounciation of its performers--something you don't notice with the singing."

When it's noticeable, you notice it.

[GavestonPS]

Posted: 1/6/14 at 10:36pm

The NYC Opera's production of SWEENEY TODD was delightful (except for Mrs. Lovett, who was played in that "here I am being funny" fashion so common in opera houses). Their CANDIDE was lovely.

I have two different recordings of British opera companies doing STREET SCENE; both are excellent.

So I really don't see the need for indignation. The definitions of opera, operetta and musical play overlap quite a bit.

[GavestonPS]

Posted: 1/7/14 at 9:38pm

Confidential to the OP: operettas were incredibly popular in the U.S. in the 1920s and 1930s, and many were made into film during the depression. They aren't the same as a stage production, obviously, and as with Broadway musicals, there was a tendency to cut any number that hadn't become a popular hit.

But you can find moderately good film versions of THE MERRY WIDOW, THE STUDENT PRINCE, ROSALIE, etc.

Be prepared: they didn't use the same singing techniques in those days. To my ear, the singing is often heavy-handed.

[Ed_Mottershead]

Posted: 1/7/14 at 11:43pm

In the early 1960's, Lyric Opera of Chicago did a production of Prince Igor with Boris Christoff assuming two roles; Highlight for most, however, was Rudolph Nureyev doing the Polovstian Dances in his American stage debut.

[SporkGoddess]

Posted: 1/8/14 at 10:00am

I think that Mozart operas make good "gateway" ones. Le nozze di Figaro especially. I'd also recommend Il barbiere di Sivigilia as a first opera.

They have sung recit, but it's no different from, say, Boubil and Schonberg or one of ALW's full sung-through musicals.

[Rinaldo]

Posted: 1/9/14 at 8:38am

Tastes differ on that, though. For some, what you say is true. For me (and I now teach opera and musical theater among my professorial duties), Mozart and Rossini were the hardest to understand and enjoy, back when I was first checking opera recordings out of the public library. Wagner, Puccini, Britten -- no problem. But the Mozart and Rossini opera buffa style, with all the text repetition, the ensembles, the de-emphasis on "tunes" as I then understood the idea, and all the recit with keyboard... that was tough for me at first. (Now of course I love them.)

All I'm saying is, if one genre that's "supposed" to be easy doesn't appeal, leave it alone for now and try another.

[Dollypop]

Posted: 1/12/14 at 4:30pm

My granddaughter and I attended yesterday's matinee of DIE FLEDERMAUS and enjoyed it for the most part. Musically it was a delight with the conductor taking somewhat slower tempi and bringing out lovely textures from the orchestra. Of course, this caused the production to run a bit longer than most FLEDERMAUSEs. It's visually stunning with sumptuous sets and costumes.

I felt that this adaptation of the libretto was lame. There were many times I wanted to groan at some of the jokes that just didn't work and were delivered ineffectively by a cast that was in great form vocally but lacked the panache to put over the dialogue. Only Danny Burstein, Betsy Wolfe and Paulo Szot seemed to know what they were doing as actors. Burstein truly lights up the stage when he's on it: one of those blessed times when actor and part meet with marvelous results.

I think Jeremy Sams has to bear some of the blame for the plodding nature of this production. His direction of the book scenes was uninspired. I don't know how well this man handles comedy. Looking back on his NOISES OFF, he didn't seem to serve that material well, either. Additionally, there were times when the full chorus was on stage and he had them lined up behind each other which was visually uninteresting and surely diminished the sound that might have been enhanced if the singers in the rear were elevated in some way. I think of that stunning moment in NABUCCO when the chorus is virtually scattered across a vertical wall singing "Va pensero". What sound!

I had prepared my granddaughter for a "trouser role" when it came to Prince Orlafsky and I skirted the issue of castrato singers by telling her that sometimes this character's music is too high for men to sing so a woman is cast in the role. We were both surprised to find a countertenor playing the role in the production with great vocal results. We had quite a discussion about this over dinner after the opera.

On the train ride home, Elizabeth was humming the music from the opera and she couldn't wait to tell her mother about how beautiful the sets and costumes were. She enjoyed the experience very much and is eager to join me for LA BOHEME later in the season.

I think I have a new opera buddy.

Updated On: 1/12/14 at 04:30 PM