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You should have done what you did on the 24th and come to the ballet! -- there were some seats in orchestra available. This is the only opera I got to see this season and I didn't really find it that fulfilling. I wasn't sure if it was just that I haven't yet cultivated a discriminating taste for opera, or if it really wasn't that up to par, so I'm happy to see you largely agreed with me.


By the time I left the opera, ROMEO was over but the party was in full swing. I was dressed way too casually to get in to the NYC Ballet gala, though actually I did have a NYCB t-shirt on.


I've always loved IL TABARRO. And like GIANNI SCHICCHI. (Why don't you like it Philip? Is it the slapstick nature of the humor? You don't really like comedies, do you?) And SUOR ANGELICA has always bored me. There are some lovely moments, but it goes nowhere. And really, unless a serious singing actress is Angelica, who cares about this nun and all the others? She ain't no Blanche de la Force. Barbara Frittoli is no longer a good singer (wobble wobble wobble) and isn't really that good of an actress. I overheard some people discussing her performance during the ORFEO final dress and they said: "The whole time she sounded like she was going to die and then she finally died. Good riddance." I was going to see it with Philip on Tuesday (and he'd have to have stayed for SCHICCHI), but work got in the way. I'll have to wait for the telecast. The production has been much discussed, but mostly it's about how huge it is. Quite a few people have complained that the much acclaimed Jack O'Brien's staging is mediocre. TABARRO is dwarfed by the sets. O'Brien seemed to have no idea what to do with all the nuns in ANGELICA. And SCHICCHI was staged like an over-the-top Broadway farce. This isn't "The Producers" or "Hairspray," so that doesn't sound like a good thing. But I am curious to actually see the sets. Perhaps they'll revive it one day with a stronger cast and with some better staging.


I'm not really sure why, over the years, I have mostly lost interest in operatic comedies. BARBIERE, FILLE, FLEDERMAUS etc all have enjoyable music and can show off good singers nicely. But in the end they don't have a moral or emotional aspect, which is what makes works like ARIADNE, NOZZE or FALSTAFF resonate. I don't consider operas like NOZZE comedies; lots of funny situations but then you end up with one of the most simple & sincere expressions of love in all opera ("Deh vieni non tardar") and the lump-in-your-throat moment when the Contessa forgives her husband.

It's cute when Gianni Schicchi pulls off his 'trick' and gives the relatives the boot, but along the way the piece is too chatty and rather annoying. Lauretta's aria is pretty but since we hear it constantly out of context there's no reason to sit thru a performance of the opera just to hear it again.


fabulous review. i was in the ridiculously long rush line for trittico and gave up...felt like it wasn't worth the 3 hour wait for $20 tickets. on the other hand, the wait was definitely worth it for the barber production this year.

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