It’s very seldom that I get mail at the office. And I mean that kind with a postage stamp on it (how quaint!) But yesterday, something arrived that went straight into my mailbox.
- Barker of Seville
- Nessun Dogma
- Donna Immobile..eh?
I have to say, I was a little bummed when I popped in the CD, because it featured actual singing, not skillfully inflected barking. It’s no Pavarotti. It’s not even Andrea Bocelli. BUT–and I’m clearly biased here–how wrong can you go with something that embraces both opera and animals?
It’s a Friday Salute to Interns!
Emily has joined us for January as an intern, helping with tasks like creating education materials, sending out mailings and cleaning my coop. (Just kidding…or not.)
She is a voice student at Oberlin’s Conservatory, but she’s originally from Florida. This is her first winter driving in snow. (She doesn’t know how lucky she is that the wintry explosions from the sky have been rather modest this season…so far.)
Thanks for helping, Emily!
I’m not talking about moving piles of yellowing scrapbooks or boxes of photographs. Our 30 years of opera history includes entire sets, a huge paint deck, and an abundance of props, costumes, set pieces and tools. This is an entire warehouse. We are moving a WAREHOUSE.
This endeavor does not involve promising your burliest friends free beer and pizza in exchange for a day of lifting and transporting. This is an eight-week planned operation, my friends.
It’s tempting to rely heavily on the dumpster when doing a move, and, unfortunately, there are items that just have no other destiny or way to be recycled. But we’re accessing everything and finding uses and homes for things that would otherwise share the remainder of their life with dirty diapers and banana peels.
One of the things Kish is doing is inviting her theater cronies over to
loot adopt from our prop and set pieces we no longer need. (Theater storage is like GoodWill–but with an abundance of fake food and daggers.)
As we ready our new warehouse space, we’re salvaging old sets for building materials. Our walls have had former lives as pieces of Hansel and Gretel or Fidelio.
We love a good train wreck, don’t we? If we didn’t, reality television would not have us so in its thrall. I admit that I am itching, just itching to see the new British reality show Pop Star to Opera Star.
Of course, there’s the opera component. “No doubt the usual tosh about ‘bringing opera to the masses’ will be wheeled out in justification of this exercise,” writes Rupert Christiansen of the Telegraph. I really don’t mind that, but Christiansen makes a valid point: “All the programme offers (as I understand it) is the rehearsal of a few familiar arias, removed from the dramatic context which makes opera the theatrical art-form that it fundamentally is. Real opera singers don’t just sing the highlights, they have to get through the whole show, in character.”
An ad for the show:
We all really know that the show has less to do with opera than with eliciting grimaces, unrestrained OMGs and loyal viewing from TV watchers.
The Met’s Lucia di Lammermoor on DVD
With Anna Netrebko. (Watch out parents, this DVD is NOT RATED. And we never know what opera directors are going to do, do we?)
Karaoke machine pre-loaded with my favorite opera arias
Obviously, this item will take some coordination and savvy, but I have faith in you, readers! First, you will have to cleverly discern just what my favorite arias are. Then, you’ll have to find instrumental tracks of those arias to load into a karaoke machine. (Oh, and you’ll have to figure out if anyone still actually sells karaoke machines, because it’s no longer 1994.)
To meet the doyenne behind Opera Chic
Opera bloggers need to stick together, yo.
This recording of Massenet’s Werther
— One of my holiday wishes has already come true: I will be spending some time in Seattle with our Artistic Director Dean! Stay tuned for my dispatches from the Pac NW.
Muppets have been very good to opera, and I offer a belated birthday wish to Sesame Street with some clips of opera on the show:
Marilyn Horne loves cookies:
Denyce Graves gets buggy:
A few weeks ago, The Met opened a Zeffirelli production of Puccini’s Turandot, and just who stepped in at the last minute to sing the role of the princess? Lise Lindstrom, who sang the role in Cleveland in 2005. (Seen in the photo to the left.) She also sang Salome for Opera Cleveland in 2007.) She was scheduled to sing the role a couple weeks later, but her Met debut came early.
Not only did she sing it, sister, she received a standing ovation.
Tonight theaters across the nation are re-broadcasting Turandot, with Maria Guleghina (the soprano Lindstrom stepped in for). Check out info about the Met HD broadcast.
With the 2009 season concluded, it’s a good time to get organized, clean out the coop…and survey our patrons.
We have a quick, anonymous survey online here. So let us know what you think–and feel free (I repeat: FEEL FREE) to tell Opera Cleveland you want more Chicken with your opera.