Quote of the Day: ME!

I served as Opera Chic's Live from the Met Reporter when Gary Lehmann was the victim of a sliding prop during Tristan und Isolde. Now, Stephan Burianek of Weiner Zeitung has quoted me in "Vier Tristans und jede Menge Künstlerpech": Eine Augenzeugin berichtet in ihrem Internet-Blog als "Sarah B": "Das Publikum schnappte nach Luft, einige schrien, und Sängerkollegen sowie Bühnenmitarbeiter kamen ihm zu Hilfe."

Bloggeratti Convention

Yesterday, Dear Esther at Gratuitous Violins orchestrated a gathering of mostly like-minded theatre bloggers at Angus McIndoe's that would give any shriner's convention a run for its money. Present and accounted for were
Gratuitous Violins, Steve on Broadway, Third Row Mezzanine, Casual Heap, Everything I know I Learned from Musicals, Broadway and Me, Just Shows To Go You, Life on Thirteen, Things You'll Learn To Love About Me, Lunar Gemini, and That Sounds Cool. Did I get everybody? I think so. There was at least one significant other, the delightful heir apparent (and king of the irreverent) of Steve on Broadway (ask him about Cats!) and Broadway and Me's Theatre Going Partner Bill who is just full of the best stories (he saw Merman in her Gypsy tour!!). Well, it stopped just short of being a full blown shriner's convention - damn it, nobody wore a funny hat and unfortunately, Chita Rivera didn't show up for ballet, even though we practically willed her there as she came up in conversation quite a bit. There was much story telling, mostly irreverent, some of it nostalgic, a little bit of teaching, sharing of theories, and all kinds of acting out. Two and a half hours later, appetites sated, stories shared and promises made to meet again soon, some of us ran off to see Gypsy (shocking but not me!). A few of us went to Juno at City Center later in the evening, where lo and behold, one of my crew and quite a blogger himself, Kevin at Theatre Aficionado at Large just happened to sit next to Mondschein from Third Row Mezzanine. Providence! Kevin, Roxy, Mondschein and I deconstructed Juno and just about everything else as we continued the evening at Seppi's.

So, brava, Esther, for orchestrating and directing. I'm looking forward to many encores!

Tonight: Juno at Encores! City Center

Tonight: Juno

Cast:

Victoria Clark, Conrad John Schuck, Dermot Crowley, Celia Keenan-Bolger, Michael Arden, Tyler Hanes, Clarke Thorell, Rosaleen Linehan, Louisa Flaningam, Jennifer Smith and Kay Walbye with Timothy W. Bish, Troy Edward Bowles, Pamela Brumley, Callie Carter, Leah Edwards, Kurt Froman, Ryan Jackson, Mary Ann Lamb, Jay Lusteck, Mary MacLeod , Annie McGreevey, J. Maxwell Miller, Pamela Otterson, John Selya, Timothy Shew, Meagan Thomas, Kevin Vortmann, Alan M-L Wager, and Patrick Wetzel.

The Great American Tragedy

Overheard at Gypsy tonight: "I think I'm seeing the Great American Tragedy."

Another Gypsy with Patti; Where to next?

This was not just another opening night for us; it was a bit of a celebration. Four out of five of us have been together for three different turns by Patti in Gypsy - Ravinia, City Center and Broadway; one of us took in at least City Center and Broadway; two of us caught the first preview at each venue; two of us caught the final performance at two venues; two of us have seen Patti in Gypsy nine times, soon to be ten. Whew, I need a graph. We wondered if maybe we'll take her to the West End next. (You! Get your passport!) There was much merry-making both pre and post curtain. One of us witnessed red carpet arrivals by Angela Lansbury, Laura Linney, Mandy Patinkin, even Corky! Then there was at least one of us (not me) who did some schmoozing in the orchestra lobby during intermission (He talked to my favorite Broadway Diva!) Finally, we did some post-show partying next door at the St. James at Angus McIndoe's. We saw friends - Motrya! Kate Buddeke who is about to be doing a play at the Public! and some who are not friends but we acted as if we know them - Laura Linney, Martha Plimpton, Matthew Broderick, John Targalia, Andre Ward...and oh, yes, STEPHEN SONDHEIM! One of us (not me) left our dinner party to go to the party where Patti was, but that didn't keep us from reveling on way into the wee hours. Ah, just another opening night with my crew of first nighters. And yes, the show was spectacular.

Tonight: Another Gypsy Opens

It's the fifth revival of Gypsy and it's a doozy. I'll be there with my gang of
firstnighters to cheer on Patti's turn.


Yesterday, I risked my life through waves of frenzied bridge and tunnel senior citizens and spring breakers on my way to the St. James' box office to procure tonight's tickets. While I was waiting impatiently at the box office, Patti arrived for the Wednesday matinee.

Tonight: Joyce DiDonato

Tonight: Joyce DiDonato at the Rose Theatre of Lincoln Center
David Zobel accompanies on piano.

Vivaldi: Col piacer della mia fede
Vivaldi: Vedro? con mio diletto
Vivaldi: Da quel ferro che ha svenato
Chausson: Four songs
Turina: Poema en forma de canciones
Copland: Eight songs from 12 Poems of Emily Dickinson
Gershwin: By Strauss
Gershwin: The Man I Love

The Yankee Diva is ready and so am I!

There was nothing but JOY in JOYce's recital. She looked glamorous and beautiful in two different gowns, the first a sort of teal green silk crepe with a full skirt and beading over the bodice. Her bling was pretty spectacular. The second dress was a strapless fitted number in black that was adorned with tiny ruffles and strips of sparkle. She left the necklace bling in the dressing room for this dress and wore long strings of diamond earrings. Her voice was wonderful. Her trill is lovely and ladylike and her fortissimo is thrilling. I loved the 8 songs of Emily Dickinson. She talked about choosing those songs for a recording with David for a start-up French label. The record label told her that she could record whatever she wanted and she said, "Well I'd like to record all of the hits of Ethel Merman." Oh Joyce. That record is The Deepest Desire . I need to add it to my collection. Her encores were The Composter's Aria by Strauss and then she that by "going back to her roots, with an aria from Rossini's La Cenerentola. Wow.

Peter Grimes: The smile on my face says it all!

Tonight: Peter Grimes at the Metropolitan Opera

Tonight: Benjamin Britten's Peter Grimes

Cast
Conductor: Donald Runnicles
Ellen Orford: Patricia Racette
Peter Grimes: Anthony Dean Griffey
Balstrode: Anthony Michaels-Moore
Director: John Doyle

Sally, Kari and I are going tonight and I am really excited about this performance. It's my first Peter Grimes and I've been told that the music is extraordinarily gorgeous. It's my first time to see Anthony Dean Griffey perform live*. I've only seen him in the broadcasts of A Streetcar Named Desire and The Rise and Fall of the City of Mahogany, but I've met him. Sally and I also went to the Guild Talk for Peter Grimes. I'm also thrilled to see one of my favorite sopranos, Patricia Racette perform again. Mezzo-soprano Felicity Palmer and baritone Teddy Tahu Rhodes round out the cast.

*Correction! Sally reminded me that we saw Tony Griffey perform with the NY Phil in
A Florentine Tragedy last October.

Kiss of the Spiderwoman at the Signature

I have been a fan of the original cast recording and of all of the youtube clips for a while. Seeing the book with the music performed, I realized that this is a great show. It gave me chills from the onset. It's a profoundly sad story, but it's funny as well. This production is very dark and at times, noisy, which I suppose is like a real prison. The lighting was stunning. Aurora, the spiderwoman, is a fabulous character and Natascia Diaz played her fabulous. She didn't try to emulate Chita as her hair and costumes were completely different. But, she danced just as beautifully as Chita. Her songs were in her lower register, which is deep and rich. She looked so beautiful and glamorous, like a real 1930s movie star. I loved Will Chase. He's so good looking and his voice is gorgeous. His characterization of Valentin was terrific. He played him strong and angry, but the softening feelings toward Molina were played with subltety and tenderness. I really believed that even though Valentin needs to use Molina to get help for his cause, he did love him. Hunter Foster was great as Molina, the gay window dresser. I thought he played him with enough cliché without going over the top. He's a comedien so the funny dialogue and acting seemed natural, but I found his performance very touching and my heart broke for his character.

It was such a treat to see a production at The Signature. My friends Wanda and Cordelia are subscribers there and are often raving about the shows that they see there. Often times, I wished I had been there as well. Sondheim is on the board there even. It was an extra special treat to see the Kander & Ebb collection displayed there. I'll be going back in May to see Chita and George Hearn in The Visit and I'm already counting the days.

Art and Cherry Blossoms

In our nation's capitol

Well, we didn't conquer the DMV. The express where they exchange licences is closed on Fridays. Harumph. So, I started my weekend early by hopping on the noon bus, crossed the Delaware and proceeded on to Washington D.C. where I am staying with dear Wanda, the hostess with the mostess. Today we are going to do some museum touring today with dear Cordelia and tonight we're all seeing Kiss of the Spiderwoman. In the meantime, you might think that I have fallen in with the wrong crowd except that I get to stay in the Diva room.

The Final Frontier: The DMV

Today, I am relinquishing my Texas Driver's License in exchange for one for New York. I'm reminding myself that you can take the girl out of Texas, but you can't take the Texas out of the girl!

Now, backstage, here's our host, the great American mezzo soprano, Susan Graham!

I tuned into Live from Lincoln Center to catch the NY City Opera broadcast of Madama Butterfly, just in time to be surprised at seeing Susan Graham hosting! Hooray for Suzi!

Teach Me Opera

The Value of Theatre

I join Steve at Steve on Broadway and Esther at Gratuitous Violins in their solidarity with Theatre Forte in their quest to define the value of theatre. I have to go to the wisdom of Stephen Sondheim for my definitive answer:

"[T]he excitement of theatre is ephemeral that one evening; that what you know instinctively when you're in an audience, unconsciously at the theatre is this performance is unique, it's got the same cast that was there last night and will be there tomorrow night, but tonight is unique, the laughs are going to be individual, something may go wrong on the stage, a prop may fall over, somebody may fall in the orchestra pit, something is live, and there is danger, and something also that makes it that it's being performed just for you..."

From the 2005 Museum of Television & Radio Conversation with Stephen Sondheim.

As you can tell, I am constantly pursuing entertainment in many forms, but the value of live theatre, whether it is at the Metropolitan Opera, a Broadway house, or a tiny room somewhere downtown, is much more than just being entertained. To me personally, being communed with an audience in a dark room, collectively focused on action on a stage, is an opportunity to escape from reality, a time to be transported to another world, for a lifting of my spirit. Because of theatre, I have met my best friends, have enjoyed endless hours of fun, have met amazing people and have learned a heck of a lot about the human condition but mostly about myself. I just can't get enough.

I'll be Lusty in the Month of May

In his online journal, Bari-hunk Nathan Gunn says he's doing Camelot with the New York Philharmonic in May. He doesn't say, but I can see him as King Arthur. Oh, I do hope it's a shirtless production as far as he's concerned!

The only casting news thus far is that Mordred will be played by the adorable Bobby Steggert who we saw in 110 in the Shade. Rumor has it that Audra McDonald will be Guenevere. I'd like to see either Cheyenne Jackson or Aaron Lazar as Lancelot.

Poster Girl 2008

Last Night: Tristan und Isolde at the Met

What a headache! No, I don't have a headache, but I bet Gary Lehman, Tristan, does. At the top of the third and final act, the pallet he was laying on started to suddenly slide the down the steeply raked stage at a fast speed. He slid about 12 feet until his head slammed into the prompter's box. The audience gasped, some screamed, and his co-stars and stage managers ran to his rescue. It was very frightening, but after about ten minutes, he shook it off and the performance resumed. Before that and after that, he gave a beautiful performance!

That was in the eleven o'clock hour! Whew. I made it. I do not know how the performers make it though. Overall I really enjoyed it, despite the ultra dull set and costumes. Deborah Voigt, Isolde, was playing an Irish princess but was costumed in what looked like a Kente cloth robe. Poor Michelle DeYoung, as Isolde's maid, Brangäne, was wearing a grey tent-like robe. I know she was playing the maid, but still. The supporting male players looked like they were Japanese war lords. BUT the music was absolutely gorgeous and the voices were glorious. I didn't find it dramatically intense like Jenufa, but it was impressive in sound and length. I liked the story and the action, although very slow and drawn out, was interesting - lots of stage kissing between Isolde and Tristan, but, of course, this was after they were tricked into drinking Love Potion No. 9. Unfortunately, I nodded off in the middle of the third act after about five hours in my seat. Fortunately, I woke up in time for Voigt's Liebestod. Thrilling! I noticed that the clock in Dante Park read 12:40 a.m. when I was heading for the bus stop. I'm ready for some more Wagner, but next time I'll take a nap first.

Tonight: My first Wagner

Tonight: Tristan und Isolde
Cast
Conductor: James Levine
Isolde: Deborah Voigt
Brangäne: Michelle DeYoung
Tristan: Gary Lehman
Kurwenal: Eike Wilm Schulte
King Marke: Matti Salminen

Last night on Broadway: In the Heights

Little Love took me to see In the Heights last night. Rarely have I enjoyed or been so moved by a Broadway show, or any live performance. It was so full of heart and energy, I found myself shivering with excitement from the very first beat. I am in awe of Lin-Manuel Miranda, who not only heads this ensemble piece but also conceived and wrote the music and lyrics. Both the terrific book by Quiara Alegría Hudes and the lyrics are full of New York and Latin humor and draw on cultural history, particularly Latin and immigrant culture, but also New York culture in general. I found myself identifying with some of the story - the discoveries in moving to New York and the main issue that a young college student deals with after her first year away at school. The entire cast was delightful and I cannot call out a single actor as I loved them all. The choreography was incredible, calling on salsa and hip hop rhythm, but felt traditional, and I wanted to get up and start dancing with them. It seemed like the audience in the packed house (it was also 2nd press night) wanted to get up and dance. It was just infectious! It feels like a full blown big time Broadway show with big dancing and music. I was engaged in every moment, laughing and crying and finally jumping to my feet with appreciation. I just can't wait to get back to the Richard Rodgers to see it again!

La Scala @ 95th & Broadway

Blogoddess Opera Chic has kept us informed about Mariella Devia in Maria Stuarda, but now Sally and I get a chance to see it in HD at the movies right here on the upper west side.



















Oh my goodness, I need to hear the incredible voice of Mariella Devia live in person as soon as possible! She is THRILLING! Beyond THRILLING! Folks, this was a movie (!) and the audience was gasping, cheering and applauding her as if she was right in the room with us. The entire opera was good, but this was definitely Mariella's story. I love any incarnation of the story of Queen Elizabeth I and her sister Mary Stuart, but I was never a fan of Mary Stuart before. Mariella made me love her and route for her. She is around 60 years old and her coloratura is clear as a bell, unbelievably high and seemingly effortless. There's an encore performance at Symphony Space this Thursday and I really may have to go again. If you want to be thrilled, you'll go too!

Tonight 0ff-Broadway: Adding Machine

Little Love and I caught Adding Machine at the Minetta Lane Theatre tonight. This new musical is based on Elmer Rice's play which made a Broadway debut in 1923. On our way out of the theatre, I heard somebody say, "This was a downtown show." Oh, it is and so much more. It's so dark, sad, funny, uncomfortable, surprising, shocking and beautiful. The music is jazzy and maintains a steady style throughout, while the lyrics are haunting and smart. The lighting is jarring and effective. I loved that the cast is all stacked with actors who sing very well, and not a one of them is under the age of 30 (maybe even 40). I loved all of the performances, especially Amy Warren's as Daisy, but really the entire cast was perfect. We were on the front row of this tiny theatre and we both have cricks in our necks and my eyes are still hurting from the jarring lighting, but I wouldn't change a thing.

Tonight: Deborah Voigt at Carnegie Hall

Deborah Voigt with the San Francisco Symphony

Program Details

San Francisco Symphony
Michael Tilson Thomas, Music Director and Conductor
Deborah Voigt, Soprano

SIBELIUS Symphony No. 7
R. STRAUSS Four Last Songs
BARBER Andromache's Farewell, Op. 39
SHOSTAKOVICH Symphony No. 9

Oh my goodness. Deborah Voigt has such a big voice. It's big, bright and controlled and beautiful. Why the Last Four Songs? As Sally says, every soprano and their dog has recorded The Four Last Songs. Deborah's own recording, Don Juan, Vier Letzte Lieder Tod und Verklrung with the NY Philharmonic was released in 1999. The texts, the first three by Hermann Hesse, the last by Eichendorff, are about being at the end of one's life. Strauss was in his 80s and his wife's health was failing. He wrote the songs with her soprano voice in mind. The songs are about death, but are not maudlin, but peaceful and accepting, almost rejoicing. The melodies are tender, with moments of fiercity. Those fierce moments were delivered as only Voigt can deliver them, fairly rattling the house. Strauss' father was a professional French horn player and all four songs feature the horn. In the third piece especially, Beim Schlafengehen (Going to Sleep), the music is achingly tender. At one point in the movement, the only prominent instruments accompanying the voice are a horn and a bass. Unfortunately, the San Francisco Symphony's Horn Section was having some difficulty at this point. Still, the performance was a triumph. And speaking of triumph, Deborah was fierce on Barber's Andromache's Farewell. Wow. The text is from Euripedes' The Trojan Women. I couldn't help but remember the thrilling performance that Deborah gave last season at the Met in Die Ägyptische Helena.

What an opening

This clip has so many fun things to spot it's like the Where's Waldo of the Tony Awards. Now, use the Comments to tell me your favorite and then I'll tell you mine.



My favorite moments:

1. Bernadette!
2. Liza!
3. Bernadette and Liza singing a song that's not unlike Some People in its lyrics
4. Berndette holding her money note for an eternity!
5. Bernadette and Liza kissing and ooohing and aaahing over Tony winners
6. Bernadette saying to Carol Channing, "Come here and give me a hug!!"
7. Nanette Fabray and Bea Arthur in place together (remember my favorite quote of all time? Well, if you don't, it's "Nanette Fabray and I have been trying to have lunch for a year" - Bea Arthur on Broadway: The Golden Years)
8. Bernadette dancing
9. The audience shot of Veanne Cox who lucked out with an aisle seat
10. And last but not least, clips of Camelot!

Just Lucky

My week started with the first preview of
Gypsy on Monday. On Wednesday, I received news that my friend and partner in crime won't be moving to LA afterall, the Met released the 2008/09 season schedule and my friend David hooked me up with a comp to see Xanadu. On Friday, my manager called me to let me know that she credited me with three extra vacation days for 2008, I signed a two year lease for my apartment, my tax refund arrived and last night, we decided to take the bus down from Kefi to our old standby and the bus waited for us while we crossed Broadway. Today, I thought my streak might be ending when the grocery delivered regular chili instead of veggie chili, but Kevin gifted me with the original cast recording of High Spirits and then my Little Love called me to let me know he hooked us up with $10 tickets to the first preview of Les Liaisons Dangereuses. That's me, just lucky.

Tonight: Xanadu on Broadway

At 4:30 this afternoon, a co-worker stopped by and offered me a comp ticket to Xanadu. Of course, I took it - you know anything that involves a ticket is my personal xanadu! Anyway, everybody was in tonight and I had just as much fun as when I saw it in previews way back in July. Every minute is a blast. Mary Testa added a line at the end. Tony Roberts, as Zeus, said, "That was short and happy." She, as Melpomene, replied, "Short and happy? Next door at Gypsy, Patti LuPone hasn't even alienated her first daughter."

On the bus ride home, some ladies were studying their Sunday in the Park with George Playbills. A man sitting across from them asked them if they liked it. They both did very much, exclaiming that it was "brilliant!" He proceeded to be grumpy about the show, stating that it's "just one set and the actors play their own instruments." The ladies looked at each other, and one replied, "Well, Sondheim's not for everybody." True that, lady, but I'm pretty sure that old dude is stuck in last season.

A'twitter for the 2008/09 Met season!

Yesterday, the Metropolitan Opera issued its press release for next season. I'm just a'twitter thinking of the tickets I'll be buying and the thrilling performances I'll be seeing. And watch out NYC buses, billboards, phone booths, I think there's a new poster girl in town!

My obvious wishlist:

OPENING NIGHT GALA STARRING RENÉE FLEMING
Monday, September 22, 2008
Conductors James Levine and Marco Armiliato

Verdi
La Traviata, Act II
Violetta Renée Fleming
Alfredo Ramón Vargas
Germont Thomas Hampson

Massenet
Manon, Act III
Manon Renée Flemimg
Chevalier des Grieux Ramón Vargas
Lescaut Dwayne Croft
Count des Grieux Robert Lloyd

R. Strauss
Capriccio, Final scene
Madeleine Renée Fleming


THAÏS
Premiere: December 8, 2008
Composer Jules Massenet
Libretto Louis Gallet
Production property of Lyric Opera of Chicago
Conductor Jesús López-Cobos
Production John Cox
Set & Costume
Designer Paul Brown
Lighting Designer Duane Schuler
Choreographer Sara Jo Slate
Thaïs Renée Fleming
Nicias Michael Schade
Athanaël Thomas Hampson
(Dec. 8, 11, 17, 20 mat, 23, 27, 30, Jan. 2, 5, 8)

LA SONNAMBULA
Premiere: March 2, 2009
Composer Vincenzo Bellini
Libretto Felice Romani
Conductor Evelino Pidò
Production Mary Zimmerman
Set Designer Daniel Ostling
Costume Designer Mara Blumenfeld
Lighting Designer T. J. Gerckens
Choreographer Daniel Pelzig
Amina Natalie Dessay
Elvino Juan Diego Flórez/Barry Banks
Rodolfo Michele Pertusi
(March 2, 6, 11, 14, 18, 21 mat, 24, 28, April 3)

ADRIANA LECOUVREUR
Composer Francesco Cilea
Libretto Arturo Colautti
Conductor Plácido Domingo
Staged by Mark Lamos
Set Designer C. M. Cristini, after sketches by Camillo Parravicini
Costume Designer Ray Diffen
Additional
Costumes by Jane Greenwood
Lighting Designer Duane Schuler
Choreographer Sergei Gritsai
Adriana Maria Guleghina
The Principessa Olga Borodina
Maurizio Marcelo Álvarez
Michonnet Roberto Frontali
(Feb. 6, 10, 13, 17, 21 mat, 25, 28)

LA GIOCONDA
Composer Amilcare Ponchielli
Libretto Arrigo Boito
Conductor Daniele Callegari*
Original Production Margherita Wallmann
Staged by Peter McClintock
Set Designer Beni Montresor
Costumes after the
original designs by Beni Montresor
Choreographer Christopher Wheeldon
Additional costumes by Holly Hynes
Lighting Designer Wayne Chouinard
La Gioconda Deborah Voigt
Laura Badoero Olga Borodina
La Cieca Ewa Podleś
Enzo Grimaldo Aquiles Machado
Barnaba Carlo Guelfi
Alvise Badoero James Morris
(Sept. 24, 27, Oct. 2, 6, 9)

LUCIA DI LAMMERMOOR
Composer Gaetano Donizetti
Libretto Salvadore Cammarano
Conductor Marco Armiliato
Production Mary Zimmerman
Set Designer Daniel Ostling
Costume Designer Mara Blumenfeld
Lighting Designer T. J. Gerckens
Choreographer Daniel Pelzig
Lucia Diana Damrau/Anna Netrebko
Edgardo Piotr Beczala/Rolando Villazón
Enrico Vladimir Stoyanov*/Mariusz Kwiecien
Raimondo Ildar Abdrazakov
(Oct. 3, 8, 11, 15, 18, 22, 25 mat, Jan. 26, 29, Feb. 3, 7 mat)

ORFEO ED EURIDICE
Composer Christoph Willibald Gluck
Libretto Ranieri de’ Calzabigi
Conductor James Levine/TBA
Production Mark Morris
Set Designer Allen Moyer
Costume Designer Isaac Mizrahi
Lighting Designer James F. Ingalls
Choreographer Mark Morris
Euridice Danielle de Niese
Amor Heidi Grant Murphy/Ying Huang
Orfeo Stephanie Blythe
(Jan. 9, 14, 17 mat, 20, 24 mat, 28, 31)

RIGOLETTO
Composer Giuseppe Verdi
Libretto Francesco Maria Piave
Conductor: Riccardo Frizza*
Production: Otto Schenk
Set &Costume
Designer Zack Brown
Lighting Designer Gil Wechsler
Gilda Aleksandra Kurzak/Diana Damrau
Maddalena Victoria Vizin*/Tamara Mumford
Duke Giuseppe Filianoti/Piotr Beczala/Joseph Calleja
Rigoletto Željko Lučić/Roberto Frontali
Sparafucile Mikhail Petrenko/Raymond Aceto
(Jan. 24, 27, 31 mat, Feb. 4, 7, 12, April 1, 4, 9, 14, 17)

RUSALKA
Composer Antonin Dvořák
Libretto Jaroslav Kvapil
Conductor Jiři Bělohlávek
Production Otto Schenk
Set Designer Günther Schneider-Siemssen
Costume Designer Sylvia Strahammer
Lighting Designer Gil Wechsler
Choreographer Carmen De Lavallade
Rusalka Renée Fleming
Foreign Princess Christine Goerke
Ježibaba Stephanie Blythe
Prince Aleksandrs Antonenko*
Water Sprite Kristinn Sigmundsson
(March 9, 12, 14 mat, 17, 21)

SALOME .
Composer Richard Strauss
Libretto Richard Strauss
Conductor Mikko Franck*
Production Jürgen Flimm
Set & Costume
Designer Santo Loquasto
Lighting Designer James F. Ingalls
Choreographer Doug Varone
Salome Karita Mattila
Herodias Ildikó Komlósi
Herod Kim Begley
Narraboth Joseph Kaiser
Jokanaan Juha Uusitalo*
(Sept. 23, 26, 30, Oct. 4 mat, 7, 11 mat, 16)

LA DAMNATION DE FAUST
Premiere: November 7, 2008
Composer Hector Berlioz
Libretto Almire Gandonnière and Hector Berlioz
In collaboration with Ex Machina
This new production was reconceived for the Metropolitan Opera
and is based on a co-production of the Saito Kinen Festival and the
Opéra National de Paris

Conductor James Levine/TBA
Production Robert Lepage*
Set Designer Carl Fillion*
Costume Designer Karin Erskine*
Lighting Designer Sonoyo Nishikawa*
Choreographers Johanne Madore* and Alain Gautier*
Video designers Holger Foerterer* and Boris Firquet*
Marguerite Susan Graham
Faust Marcello Giordani
Méphistophélès John Relyea

(Nov. 7, 10, 14, 18, 22 mat, 25, 29 mat, Dec. 4)

Quote of the Day

"I don't garden, I don't knit."

Patti LuPone, NY Post, 3/4/08

Gangway, world, get off of Patti's runway!

Did you see the City Center production of Gypsy that starred Patti LuPone as Mama Rose last summer? Well, if you did, then you are in for more of all of that exhilaration at this Broadway production. And if you didn't, I suggest you get down to the St. James and get yourself a ticket immediately. The set is the same, most of the actors are the same, most of the costumes are the same, the stuffed dog and the lamb puppet are the same, but best of all, the out of this world performances by everybody on stage are the same and perhaps even better. The major differences are that Patti wears a great wig and has a few more costumes. She looks incredible too - lean and mean. While it was hard to improve on that 3 week turn last summer, some of the scenes are better played, mostly just slower to emphasize the relationship between Rose and Herbie, especially Small World and You'll Never Get Away From Me. Patti's Everything's Coming Up Roses is just as fierce and thrilling! Her Rose's Turn is a little different, the lines Hold Yer Hat and Hallelujah are back as well as Mama's Talkin' Soft, thank goodness, but it's even more maniacal than before, even more of a fantasy and teeters on the edge of a breakdown. She fairly screams it and I can't imagine how she'll be able to do that eight times a week. The very end of the show, before the curtain falls, there's an addition. I loved it but I won't tell you what it is - you just have to see it for yourself. The 25+ piece orchestra is on stage, just like at City Center and is glorious (couldn't we have an orchestra at every Broadway show?!), treating us to that incredible Styne overture, which earned its share of applause. The audience just about stopped the show at Rose's first "Sing Out Louise!" and did stop the show after Rose's Turn. It was an incredible, thrilling, heart-pounding high humor, high drama show, arguably the best musical ever written, and I'm so glad we were there to witness it all.

Speaking of high drama, there was plenty in the audience too. During Gypsy's strip, some strange man kept yelling out, "Sing out Louise!" He also yelled out "I Love you Patti!" after Rose's Turn as well. I don't know if he was retarded or what, but it was irritating. However, the real drama happened during the dressing room scene just before Rose's Turn, some sort of accident happened. We couldn't see it from the orchestra, but it was loud enough to make 1/2 of the audience turn and look up. There was a loud crash and immediate crying. Somebody shouted, "Are you okay?" The person proceeded to cry very loudly. I don't know how Patti managed to go on with Rose's Turn, but as Rose says, "That's show business." There was an ambulance parked in front of the St. James. I heard that a piece of metal air vent fell from the ceiling and hit a patron. I also heard that somebody was choking somebody else at the end of the first act and had to be escorted out by security. I do hope everybody is okay and will laugh this off when they get their free tickets for another accident-free performance. Patti is literally knockin' 'em to the aisles and bringing down the house. Maybe there should be an ambulance permanently parked at the St. James.

Arthur Laurents was sitting near us, as was Raúl Esparza (an evening of light theatre on his night off from The Homecoming?). We saw Jim J. Bullock too (he's from Odessa, Texas! and is just as nice as nice can be). We had pre-show dinner at Angus McIndoe's (Angus, what's the bloody deal with the cheap paper napkins? And did our favorite small steak salad get even smaller?) and sat next to little Sami Gayle (Baby June), who was having her own pre-show dinner with her whole family.

It's Today!

Hey, Kari, I know what today is!

I feel very strongly about Gypsy memorabilia

In 24 hours, I'll be adding to my Gypsy collection.