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It's hard to pay attention to the current Met run of Le Comte Ory when your uncontrollable inner mind keeps emitting:   WE'RE SO PRETTY OH SO PRETTY YENDE   (I should say that this star-is-born do

Dynamite-plus, even.

This reminds me of my rant about SF Ballet's Cinderella without fairy godmother or mice.

We listened to the broadcast of Thomas Adès's The Exterminating Angel on BBC 3 last Saturday, and decided that since there are very few Met operas that interest us this coming season, we will spring for better seats in the house so we can actually see everything. (Instead of our usual nosebleed territory seats) We may still go to the HD as well.

 

BTW: Their new production of Cosi is set in 1950s Coney Island. Hmmm . . .:unsure:

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  • 1 month later...

Man, Alastair Macaulay must have gotten up on the wrong side of his bed when he saw Souvenir d'Un Lieu Cher. I thought the ballet was pretty good.

 

Sarah Lane is way overdue to be promoted to principal.

 

It's sort of sad (for me) that the Met is poaching the ABT orchestra's concertmaster, though.

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Good for the Met, though. I thought Bowman played like an angel. (Great name for a violinist, too.)

 

I haven't read Macaulay yet. I can't imagine what there is not to like about Souvenir d'Un Lieu Cher.

 

They certainly have some principal slots open now. (Let's not forget Cassandra Trenary, either.)

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  • 4 weeks later...

I agree with almost everything Alastair Macaulay had to say about the Bolshoi's The Taming of the Shrew. Even on paper, it makes about as much sense as their dancing "Rubies" in place of the City Ballet.

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An odd little mental detour... the staging for Shrew reminded me of Winter's Tale, which made me remember how much I enjoyed watching Wheeldon's pieces to Pärt's music earlier, which made me go listen to some Pärt.

 

That in connection with the Shostakovich music made me remember something Sneakeater mentioned to me ages ago when I ran into him after a Stravinsky concert – that as someone with a bit of a math background, Stravinsky seemed like something that would appeal to mathematically-inclined people due to the complex cell structure.

 

Thinking about that a bit more, Stravinsky's music seems almost the opposite of "mathematical", to me at least. I picture math – pure math at least – as being something uniquely austere, minimal, pure, and almost sacral. Spiegel im Spiegel makes me think of pure math in a way that very little other music does.

 

But it's very possible I'm just being full of shit. Too busy listening to... whatever the hell it is I'm listening to these days to get any real understanding of classical music for the next few years at least.

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I thought that Shrew began sort of promisingly (even if, like everybody else, I thought that woman in the pre-curtain episode had to be Bianca: do they even have a housekeeper in the Shakespeare?).

 

But the second act . . . it almost wasn't there. It's like Maillot was afraid to present anything that any right-minded person now would find gross (to put it charitably). So maybe don't use this play as source material?

 

That guy who played Petruchio (Saturday night) is really ripped for a skinny guy, though.

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The other problem is that there already exists a masterful music-theater adaptation of The Taming of the Shrew.

 

When Petruchio didn't entrance (if Peter can use "dialogue" and "leverage" as verbs . . .) to "I've Come to Wive It Wealthily in Padua", I was disappointed.

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