Capriccio at the Met

The good news: I won Varis orchestra seats at the Met for the FOURTH time (last row in the orchestra, but still).

The amazing news: it was an opera starring Renee Fleming.

The bad, bad news: The opera, Capriccio, totally blew.

When I described the story to Meridita, who was so good as to accompany me, saying it's about a dinner time conversation about art, she laughed and said, "So it's like My Dinner with Andre as an opera?"

Yes, and let me tell you a CONVERSATION (particularly a 2 and half hour conversation) does not make a good "plot" for an opera. It was so fucking wordy. And nothing happened. To make it worse, there was no intermission (Meridita said they do that on purpose knowing no one would come back if you let us out).

The audience was having a tough time. In addition to general fidgeting, coughing, and candy wrapper rustling, people actually kept getting up an leaving. There were many, many times where I had to force myself not to look at Meridita out of fear that we would start laughing uncontrollably. The two women next to me were having a similar problem.

The music was very enjoyable. Sometimes (ironically since the "debate" was about poetry versus music), I stopped reading and just watched and listened. Renee Fleming sang beautifully, in warm, rich voice. But my favorite was Peter Rose as La Roche, a commanding bass who sang dramatically and lovingly.

Oh, and there were many points in the last forty minutes where it seemed like it was about to end. At one point everyone left the parlor, and the servants came out commenting on the action. I couldn't help during that scene to be reminded of the Oompa Loompas... And don't let me forget the scene where Renee Fleming seemed to be having a very private moment with a rose...

Drama Club: Capriccio at the Metropolitan Opera

 

Diana won tickets to Capriccio at the Metropolitan Opera. 

The singers were really good, but oh my goodness, the opera itself was like a really long bad drama club idea --  "Which is more important: words or music?".   And that went on for 3 hours with no intermission.  We had to make a concerted effort not to look at each other or we would have burst out laughing. 

Poor Renee Flemming had to haul around 2 dresses with such ridiculous trains they actually thudded as she walked.

Shockingly nothing strange happened on the train ride home. 

 

Tosca and Wild Things back to back

Tosca at the MET on Friday night was a gazzilion times more riviting than it can been at the HD summer movie.

A few hours later I was back at Lincoln Center with the Rush Kids.  



The animated drawings buy Rush Kids and Teens drawings were projected as the set for the New York City Opera's production of "Where The Wild Things Are".  The original drawings were on display in the lobby.

 

Where the Wild Things Are at New York City Opera

This afternoon I saw a special benefit performance of Where the Wild Things Are at New York City Opera.

It wasn't a full production, but a concert performance. The orchestra was on stage, and the singers performed on platforms in the back. Most fantastic, however, were the projections of wonderful, vibrant art by Rush Kids and Teens. These fantastical, whimsical, and surprisingly complex images made the whole event really come alive.

Samples of their art work was on display in the promenade, and I snapped this photo, which unfortunately does not do justice to the rich colors the artist used.

The music was great, and Danya Katok, who sang Max was delightful. The orchestra was conducted by Julien Kuerti.

Tosca at the Met!

Wow, what an incredible opera: Last night Meridita and I saw Tosca at the Met. I had won tickets (once again!) through the Weekend Ticket Drawing program they have. True, our seats were second to last row of the orchestra, but they weren't nosebleeders and it was just fine. The opera blew me away. Meridita and I had seen it in HD outdoors at Lincoln Center last year, but I wasn't that taken by it. This was a whole different story. Both Meridita and I were totally sucked in by the drama and completely caught up in the action. There was just something about it that was dramatically more riveting. The singing was incredible. I was particularly blown away by the beauty of Violeta Urmana's voice as Tosca, and Salvatore Licitra's aching Carvaradossi. Marco Armiliato conducted and James Morris sang Scarpia.