If I Ruled the Met (Part I) — Idiots at the Opera are Back

Idiots at the Opera, ,

Now that the threat of a strike is over, and the season about to begin, I thought I’d write a series of blog posts, offering Peter Gelb unsolicited advice on how to run the Met because this is the internets where every idiot can express his/her/their opinion.

During the tense negotiations, I kept thinking that the unions were wrong about one thing – the problem wasn’t expensive silk poppies in Prince Igor. Even a stark production like the Willy Decker version of La Traviata is still going to be expensive, and spectacles bring in the audience. I gasped when the palace was revealed in Act II of Zeffirelli’s Turandot, and the Paris street scene in La Boheme is as a vivid in my memory as a visit to the actual City of Lights.

If the Met isn’t making enough to sustain itself – especially with live in HD, then the problem is elsewhere, and so are the solutions. I don’t know if Gelb himself took a pay-cut in the end, but that probably would have been a nice place to start. Granted, this isn’t Europe and the government doesn’t subsidize art here, but cutting back on sets or rehearsal time is NOT a viable solution.

I’ve been to performances that appeared to be sold out, but I’ve also been to plenty with empty seats. There’s a lot the Met could be doing to fill more seats – both with its HD performances and at Lincoln Center.

Don’t get me started on subscriptions. I’ll devote a later post to that. In brief, the current system seems designed to appeal to people who’ve subscribed for the past 40-plus years and still haven’t quite figured out e-mail. I’m also not sure why HD is NOT blacked out in the New York metro area. The only reason to have local HD would be for operas that have become phenomenons, where the shows are selling out and HD is the only way to accommodate all the people that want to see it. Otherwise, people should be encouraged to get to the Met, and there are all kinds of things they could be doing and aren’t doing to build up both the local audience and to convince tourists that a night at the opera is both a must AND affordable.

Not only does opera need to be made more appealing to more people, but people need to know that as a form of entertainment it’s not beyond their reach financially. Advertising must emphasize that the Met is a fantastic venue, and even the cheap-seats offer full stage views and clear beautiful sound. They need to know that while dressing up is certainly a nice thing to do, you can wear what you’d like, and spend far less than you would on tickets to a Broadway show.

One problem is that in recent years, the Met seems to be trying to go low-brow on some productions, to make them more accessible by dumbing them down. This is one of those short-term gain schemes that really won’t help in the long-term. In the 2012-2013 season I was eager to see the Vegas Rigolletto because in theory setting it in a rat-pack casino sounded exciting and fun, but the reality was the Guys and Dolls “translation” didn’t really work. The “curse” being delivered by an Arab sheik was nonsensical and racist. The staging wasn’t very good. What saved the show (if it was saved) was the dynamic performances of superstars Diana Damrau and Piotr Beczala What saved it, was that they didn’t screw up the music.

Even worse than Rigoletto, was the truly horrible “new book” for last season’s Die Fledermaus. Apparently, an English libretto with Broadway pandering worked in the 1950s and was a solid hit, so they thought they’d do it again only more vulgar for a new audience. They threw in the same break-the-fourth-wall-and-make-fun-of-the-poors-in-the-balcony schtick that half the shows on Broadway are doing, added several scenes that do nothing but explain what’s already happened (in case the audience was napping), and made the primary couple Jewish because it allowed them to throw in Yiddishisms which everyone knows are hysterical.

While this kind of stunt, might bring in the curious, it does nothing to increase the opera audience. The people who are going because they’ve heard it isn’t really like an opera, aren’t going to fall in love with opera and they aren’t coming back.

We (the better-half and myself) are still novices. It will be three years this spring since our first venture at the Met. The spouse got us tickets for my birthday. We didn’t go on my actual birthday because that night was Wagner, and uh you know. It was the next evening when they were performing the Willy Decker production of La Traviata, with Natalie Dessay (who actually showed up). We were blown away. Why? Because it was NOT a Broadway musical. Because the sounds we heard were beautiful and it seemed almost impossible that unmiked humans could be making them. Because it was pure emotion. Because big themes – love, death, lust, sacrifice, tragedy. Because it was one of the most fantastic experiences of our lives.

What if our first production had been Die Fledermaus? Would we ever have returned? I doubt it.

I’m not saying the Met shouldn’t be trying “new” things, but Gelb should not be dumbing down opera to reach a wider audience. Why not try to smarten-up musicals the way Glimmerglass does? Why not one classic or new musical suitable for an opera stage each season, with a mixed cast of Broadway belters and opera singers? How about A Light in the Piazza for a start? It’s mostly sung and definitely NOT one of those shows like Chicago or Grease where you could get away with stunt-casting. The singing roles take some serious chops. Some of it is even in Italian!

Here’s a clip:

The “Broadway at the Met” productions themselves wouldn’t need to be the most elaborately staged. The emphasis could be on the music and the musicianship of the cast and orchestra. It would be a great way of getting people who already like musicals to begin with to look at opera. It would bring new people into the house.

The Met could also commit to one American opera every season. Last season they did have a couple of English-language librettos, but I’m talking about operas that tell American stories – even if they aren’t always written by Americans. They don’t have to be new productions (but that would be awesome). Here are five possibilities: Moby Dick, An American Tragedy, A Streetcar Named Desire, The Ballad of Baby Doe, Treemonisha.

There’s lots more they could be doing to create a future generation of opera goers, and none of it involves making opera less opera-like. Next post will continue this. Meantime, feel free to talk amongst yourselves and comment.

(Idiots at the Opera is a continuing series of views and reviews written by a idiot who knows nothing about music, but loves opera. All views expressed are probably wrong.)

I Can Haz Kittehs? — How I Live with My Cats and My Allergies

Politics and Culture, true story, , , , ,

Why would anyone who suffers from allergies want to live with a cat? Only because they are the fluffiest bestest coolest little vermin-killers in the world. Because every cute kitty is a lion at heart. Because you don’t need to get a “hybrid” — no cat is truly “tame.”

There are more pragmatic reasons. You got a cat for your kid and then you developed an allergy. You don’t want your kid to hate you forever. He or she definitely will, but it probably has nothing to do with the cat. Maybe you’ve met your soulmate, only she’s known the cat longer than she’s known you. Don’t make her choose. Perhaps a bundle of yapping cuteness followed you home and even though he makes you sneeze, you are in love. Some are born with both the cat-loving gene and the cat-allergy gene.

I am one of them. That’s me. I live with both cats and allergies. I am not recruiting for this lifestyle. I am not advising anybody with allergy symptoms to try this at home. If you are an allergic person and you live with a cat and you die of asthma – which can really happen, don’t blame me. I am not a medical professional. I am not telling you what you should do. I am telling you what I do. These are also useful tips if you are nonallergic cat person who might have allergic friends visiting.

Here are some basics. Products I use are mentioned. These are not “paid” endorsements.

  1. I have an allergist – This isn’t a DIY project. You need a doctor if you choose to do this. If you don’t have decent insurance, forget it. If you have an HMO or a lousy plan whichdoesn’t cover shots, you might need to find a new job with a better plan. If you can’t afford your copay, don’t get a cat. Allergists, like most doctors, used to tell you to give away your cats. This is because your allergies, even if minor, might get worse over time. Then they realized no one would bother with immunotherapy (injections) if they didn’t love their pets, so now they will only tell you not to get more pets, and to keep coming back for treatment. Shots are a big commitment because they won’t even start working for several months, and first you’ll have to come every week. Then it’s every two weeks, and then every month. After a few years, you can stop. But then you might have to come back. (I recently came back.) An allergist can also work with you on finding medications – both OTC and prescription that can control your symptoms. I take a generic form of Singular which just about eliminates my main, and most dangerous symptom – wheezing. I have an “emergency” inhaler. I take OTC antihistimines on occasion. There are lots of “non-drowsy” choices.
  2. I’m careful about “alternative” treatments. I have used accupuncture and Chinese herbs in the past. These seemed helpful at the time, and are harmless in any case. But some of what is labelled alternative is just plain dangerous. Ephedra, for example, is touted as a “natural” asthma treatment, but it can have dangerous side effects and using it without treating the underlying cause of the asthma – your cat allergies – won’t “cure” you and is not a long-term solution. While Western medicine may not have all the answers, in this case, at this time, the treatments are pretty good and pretty safe.
  3. The bedroom – Allergists will tell you to keep the cat(s) out of the room where you sleep. That’s good advice, but it sort of defeats the point of having a cat and it might not work if , like me, you live in small space. I make sure to change the sheets at least once a week, and follow other housekeeping rules (See below.)
  4. Housekeeping – Cats lick themselves. The saliva has the protein to which you are allergic. It gets in the air and crystalizes. Therefore – linens should be changed at least once a week. I have a Miele vacuum (that has a micro-filter and doesn’t blowback the air. Rugs and carpets? I got rid of them! They are dander traps! Just the worst. I clean my floors (vinegar and water combo works great on almost everything) at least once a week. There are also products one can find (google) that may be helpful. And those sticky rolly things to clean lint from your clothes? Very useful to have around.
  5. Air purifiers and filters – In theory these are helpful. I like mine, but I rarely use it. The problem is it doesn’t work so well if windows or doors open, so they are mostly useful in a closed room with closed windows. We have room (not central) air conditioning and it’s important to change the filters at the start of every air-conditioning season. The AC filter helps enormously especially as I also have hayfever. What doesn’t help? Anything that claims to “clean” the air by charging ions alone and doesn’t have a filter. Do not waste your money. They are debunked.
  6. Cat litter – It must be lovely if you can get a loved one to deal with that! It’s also smart to go with something relatively low-tracking and dust free. I’ve recently switched to paper pellets, which serves the purpose.
  7. Cat Baths – Allergists recommend bathing your cat twice a week. Cat baths, how to, are a whole other post that I haven’t yet written. I can tell you from experience that two out of three cats won’t believe you are trying to murder them, but none of them will enjoy the experience. You will be forgiven quickly however, especially if treats follow. Do not immerse your cat in water. Better to pour water on them, but they still won’t like it. Make sure the shampoos is safe for kitties and doesn’t contain chemicals. The problem with bathing the cats, is that they groom themselves a lot after, getting the saliva back on them which kind of defeats the purpose.
  8. Cat Wipes If bathing the cat seems daunting and/or there’s simply no way you are doing it as frequently as recommended, cat wipes can work. Look for ones that don’t seem too toxic and look for bargains. (I just got a year’s supply to save on shipping). Cats tolerate it more easily than bathing. At this point, I rarely bath them, but do the wipes at least twice a week.
  9. Brushy – My oldest cat loves “brushy.” The others, not so much. Brushing or combing before the wipe down to catch loose hair helps the allergic and helps prevent hairballs.

Yes, this does sound like a lot of work. The reality is it’s mostly basic stuff we should all do allergies or not. The shots are a pain, but after a while, it’s only once a month. It’s not that much work and the result is I get to have cats.

Again, I am not recommended anyone do anything. Also this was written for consenting adults with allergies. Not kids. If your kid is allergic, I got nothing. I know parting a child from his pets – even for his own safety – will break his heart, and parting a child from his pets because of the allergies of another child in the household may cause lifelong resentment, but kids die from asthma and may keep symptoms a secret, so if your kid is the one with the allergies, it might be better to re-home the pet. Lifelong resentment is better than no life at all. Talk to a doctor.

(My fiction has nothing to do with my cats, but if you found this post helpful, please check out my books.)

Tonight Only

Event, New York Stories, true story,

Just wanted to say, that tonight I’ll be storytelling over at this place. It’s a free event. I’ll be telling a story that’s not part of a book or anything, nor will I be talking about my top secret new project. The story I’ll be telling is like, you know, in the monologuist tradition of the late great Spaulding Gray. I’d wear a flannel shirt if I had one and if it wasn’t so humid. You are all welcome to come. But get there early. They’ll be music and bigger headliners and it may be hard to get a seat.

Idiots at the Opera – La Traviata, NY Opera Exchange

Idiots at the Opera, , ,

We idiots stopped by the Church of the Covenant over on East 42nd street to see the New York Opera Exchange production of La Traviata. What drew us there? The chance to expand our operatic horizons beyond the Met, cheap tickets – general admission $30 (less for students and seniors), the opportunity to participate in this “start-up” company’s mission to create “performance opportunities for emerging artists on the cusp of professional breakthrough.” There’s more to the mission statement but the rest reads like buzzwords for grant applications though that doesn’t make them untrue or not sincerely felt. (I know this as an occasional grant writer.)

Let’s start with the hall. The opera was not actually performed in the main chapel, but in a “fellowship hall.” Acoustics were good. But it did present challenges. The stage is a raised platform but only a few feet up. The orchestra area was cordoned off, and while the sitting musicians didn’t block the view, the conductor smack in the middle did to a greater or lesser extent depending on where you were sitting.

The stage was small, but movement was well-choreagraphed to work with that.

As for the performances, Nadia Petrella sang Violetta the night we saw it. Her coloratura was lovely. Dramatically, I thought she was at her best singing Sempre Libera, and it was here that the character’s conflict with herself over her feelings was clearest. She may not have been helped by the “concept” imposed on this production. More to come on that.

There were a number of cast substitutions that night. While the program lists the different casts and all the covers, there were no notes stuffed in with the updates. Instead, we got a very quick muffled announcement right before it started. I didn’t catch it all except the big one – Germont was sung by Roberto Borgatti. Per the program, he’s done recitals before but this was his operatic debut. Don’t know if he got to sing the role before the performance we saw, but for a debut that was amazing. There were couple of times when he looked like he might he might have been struggling, but except for a tiny cough, he sounded great.

My only real quibble is with the choice of setting for the story. They’ve set it Rome at the end of World War II. Violetta is an upper-class aristocrat now reduced to being a courtesan and trying to keep up appearances. Alfredo, an American GI. After seeing the stunning graphic, I thought it would be a hoot – a kind of neo-realist thing, like a post WWII, Italian film.

When I read the act by act description in the program I had my doubts. The better-half didn’t mind it so much. He pointed out it was “unobtrusive.” Alfredo and Germont wear army uniforms. Other people wear evening clothes. They didn’t muck around much with the translation. But it bugged me. As presented it didn’t make lot of sense. (Granted, this in an opera where a dying girl sings – a lot.)

Violetta Valery was based on a specific real person, who most definitely was not an aristocrat, though she may have seemed like one. She was a wealthy woman alone in the world who earned everything she had – on her back. When Germont comes to ask her to give up he’s son, he’s bowled over by her manners – the fact that she has any. Alfredo loves her despite her “past.” What made the story popular from the beginning was the redemption factor — the idea that this hardened tart was willing to sacrifice all she had for Alfredo – and even for his sister whom she didn’t know, the idea that “love” could somehow save her or that the lack of it would hasten her death. The tragedy of the opera is that they are kept apart, and kept apart because of class — her lack. Even Germont learns a lesson and is left to live with a burden of guilt and regret.

Of course a decadent aristocrat, maybe even one who’d been in bed (literally) with fascists to keep what she had, could also be redeemed by love, but it feels like a much different story, and if you set it in the 1940s, it seems doubtful that Alfredo’s romance with such a person would ruin his sister’s marriage prospects.

I was thinking of the film, A Foreign Affair, in which GI’s in occupied Germany get in over their heads with Germans who may or may not have been Nazis. I was expecting maybe more of that — Italians on the make, naive Americans who don’t know what they’re getting into. Violetta could have been an impoverished Sophia Loren-type trying to work in film while being supported by a Baron who maybe made a shady deal or two to hold onto his fortune during the war. There could have been more solid reasons implied for why the relationship would have been scandalous and ruined Alfredo’s family — maybe a threat to his military career or a future in politics.

I guess what I’m saying is, having come up with the idea, they could have gone a little further with it, and really had fun. This was half-measures. However, it was still La Traviata, and still pretty great. I will be checking out more of New York Opera Exchange next season. (As of this posting, you can RUN to the last performance today at 3:00, which could be sold-out for all I know and there’s no phone number on the website, but if it doesn’t work out, you could always get the 7 from nearby Grand Central and visit the Long Island City Arts Open five minutes away. Or you could stay home and read this novella.)

Idiots at the Opera — La Cenerentola, Who Doesn’t Like a Cinderella Story?

Idiots at the Opera

We caught the penultimate performance of Rossini’s La Cenerotola.. Saturday is the final, and it’ll be live on HD. If you already have your live in HD-ticket you’ll have a great time. If you don’t, and it’s still possible to get one, why not? If you want to catch it at the Met, standing room will be your only option as the house is sold out.

The story is of course a familiar one, Cinderella, but with a few twists. No stepmother. In this case it’s a stepfather and while he’s squandered Angelina’s inheritence, and mistreats her, but he’s so buffoonish that you can’t quite get up a full head of steam to hate him. The stepsisters are equally deluded and awful. There’s no fairy godmother, but the Prince’s tutor fills that role.

Now here’s the thing, there are a gazillion versions of the Cinderella – rags to riches story, and very few of them contain actually “magic” as in supernatural beings like fairy godmothers who get the job done by transforming pumpkins into coaches, etc. My FAVORITE version of the tale is the classic Colombian telenovella, Betty La Fea, in which the stepsisters are evil co-workers, and Betty not only gets her prince, but transforms him from a insensitive man-whore, to a responsible husband and father. Her fairy godmother is a publicist who befriends her, helps her pick out clothes, and gets her to depiliate. But I digress…

If you follow the libretto, in Rossini’s version the Prince’s tutor, Alidoro is not a magical being, but he sometimes acts like one. He shows up in scene one disguised as a beggar to better scope out a bride for the Prince. It’s Angelina/Cinderella who treats him with true Christian piety taking seriously that “least among you” stuff. It’s that which makes her worthy to ascend to the ranks of royalty. Alidoro is the one who takes her to the ball.

In the Met’s version, they’ve added a kind of Touched by an Angel gloss to his character. While it was clearly done to entertain, and is not at odds with the libretto, it’s not explicitly supported by it either. Two days later I’m still not sure how I feel about it – creative, or pandering to our expectations? Given the 1930ish costumes, he could have arrived in a Bentley with a bunch of Coco Channel type assistants to dress her up, but what do I know? I’m an idiot, not a dramaturge. Again, in many modern versions of the fairytale, – Pretty Woman, The Devil Wears Prada – mortals have filled the role quite nicely.

This production got a lot of press because the hot tenor, Juan Diego Florez was ailing and the role was taken by Javier Camarena who got raves. We saw it with Florez, who was excellent and has those matinee idol Prince Charming looks as well. In the second act aria, Si, Ritrovarla Io Giuro, he seemed to hit and hold an impossible number of high notes.Opera, is often a competitive sport, so I couldn’t help wondering whether he was trying to banish the memory of his fill-in’s performance.

In addition to that aria, there’s a hell of patter tune in the second act that features the entire ensemble, and a haunting melody sung by the title character in several scenes. Fabio Luisi ably conducts. There’s also tons of physical comedy and the costumes and set design are all a joy.

American soprano Joyce DiDonato was amazing in the title role both dramatically and vocally.

Allesandro Corbelli, Pietro Spagnoli, and Luca Pisaroni all provided excellent support in the roles of Don Magnifico (the stepfather), Dandini (the Prince’s valet) and Alidoro respectively.

Patricia Risley and Rachelle Durkin played the stepsisters. While there is no vocal heavy lifting in their parts, both gave great performances involving a lot of physical comedy. They and were also featured in these roles in the Met’s last go round of this opera in 2009. They worked incredibly well together. For some reason, they don’t have bios included in the Playbill. Isn’t it punishment enough that neither gets to marry the prince?

We’ve seen about 14 operas at the Met this season, and while I’m not sure if I’d say this was our favorite, it’s certainly up there.

This was probably our last Met outing till October, but not our last opera till fall. Next week we’re off to see the New York Opera Exchange’s production of La Traviata. Tickets are still available.

(What does Marion do when she isn’t going to or writing about opera? She writes fiction. You could read some.)