Today, approximately thirty-three years ago, the great Beverly Sills made her debut in Rossini's L'Assedio di Corinto after the retirement of Rudolf Bing, who had let us say a thing for American singers. . I just wanted to put that out there and mark the date for everyone. You can tell how much I love Beverly Sills. =)
In Other News:
Franco Zefferelli and his followers (aren't we all?) are creating quite a stir in the offices of the Metropolitan Opera. Mr. Zefferelli (who, as we all know, is an operatic genius) is insisting that Mr. Peter Gelb (a genius in a different way) not "mothball" his classic productions such as Tosca and La Boheme. Such mothballing will lead to a protest in Lincoln Center Plaza. Bring your picket signs! Bring everyone you know! We want these Zefferelli's to stay!
Forget the Salzburg Traviata!
Forget all those terrible modernized productions that make no sense!
Keep the gorgeous and opulent productions that define the greatness of these beautiful operas!
Zefferelli forever!!!!!!
Happy Listening!!! =)
Monday, April 7, 2008
The Seige of Corinth And Franco Zefferelli (unrelated topics!)
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4 comments:
It's a nice sentiment, but the old bastard Bing had already retired before dear Miss Sills made her BELATED debut.
Indeed. Bing made her a couple of token offers which he knew would conflict with prior engagements. Belated is putting it lightly. But as she herself put it - when Bing said "Not every great singer can sing at the Met" - "Not every great singer wants to!"
I share your love for wonderful Beverly. She's among my very favourite.
But I have to say, I LOVE the Salzburg Traviata. Not that all productions should go that way, but I think there's room for both.
(Oh and L'assedio is by Rossini, not Mozart. But you knew that.)
Oh gosh, did I put Mozart? I meant Rossini. Got Mozart on the brain. Too much "Nozze" I guess. =)
I was wondering why Bing finally cracked down! He retired! That'll work.
Thanks for the corrections. I must have been tired. =)
CaroNome
I'm with you on both counts. I love Beverly Sills why "fix" something if it ain't broke".
A few years ago, I saw a modernized version of Traviata presented by the Canadian Opera Company that was so ridiculous in places, the audience actually laughed. In the gambling scene, where the Baron and Alfredo are supposed to be playing for high stakes, some genius decided to substitute a one armed bandit (slot machine) for cards and table.
There were a few other "improvements" in that production as well, but thankfully, I have forgotten what they were.
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