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Apr. 20th, 2012 11:47 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
seekingferretNYCO's new season is out.
-Thomas Ades's "Powder Her Face"
-Benjamin Britten's "The Turn of the Screw"
-Gioacchino Rossini's "Moses in Egypt"
-Jacques Offenbach's "La Perichole"
The former two shows at BAM, the latter two at New York City Center, which is apparently being renovated? I'm hoping it's a good renovation, because I saw "On the Town" at NYCC and it was a disaster of terrible vantage points. It was fine for concert recitals of shows, but not really adequate for vibrant, fully realized staged productions.
Venue nonsense notwithstanding, all four of those operas sound extremely up my alley. Though I'm nervous given negative experiences with NYCO this year, I'm willing to blame that on the musicians' strike and the move and move on to renew my subscription.
I'm curious about Moses in Egypt. Rossini wrote, as he did for several of his operas, both an Italian and French version, with the French version having the requisite dance numbers added. It's not clear from the email announcement which version will be staged by NYCO, but the director, Michael Counts, was responsible for NYCO's lovely and eclectic Monodramas night last year. And in any case, I always love engaging with Biblefic operas. My first exposure to "Moses in Egypt" was when I examined it as part of writing a paper on "Moses und Aron", to compare the two approaches to the same story. They are... very different.
I also have a Met subscription for this coming season. That subscription also contains a Thomas Ades opera, his "The Tempest", as well as the Met's new "Giulio Cesare", "Le Nozze di Figaro", "Le Comte Ory", "Les Troyens", and "Un Ballo in Maschera". I am more excited for the first three I mentioned than the second three, but the latter will continue my journey into finally learning about French classical music, and feature some of the Met's top singers. I think I'll be seeing Juan Diego Florez live for the first time, for example. (I sometimes put his "Ah mes amis" on repeat for the jawdropping ease with which he does the high notes. Yes, I know that's shallow and immature.)
-Thomas Ades's "Powder Her Face"
-Benjamin Britten's "The Turn of the Screw"
-Gioacchino Rossini's "Moses in Egypt"
-Jacques Offenbach's "La Perichole"
The former two shows at BAM, the latter two at New York City Center, which is apparently being renovated? I'm hoping it's a good renovation, because I saw "On the Town" at NYCC and it was a disaster of terrible vantage points. It was fine for concert recitals of shows, but not really adequate for vibrant, fully realized staged productions.
Venue nonsense notwithstanding, all four of those operas sound extremely up my alley. Though I'm nervous given negative experiences with NYCO this year, I'm willing to blame that on the musicians' strike and the move and move on to renew my subscription.
I'm curious about Moses in Egypt. Rossini wrote, as he did for several of his operas, both an Italian and French version, with the French version having the requisite dance numbers added. It's not clear from the email announcement which version will be staged by NYCO, but the director, Michael Counts, was responsible for NYCO's lovely and eclectic Monodramas night last year. And in any case, I always love engaging with Biblefic operas. My first exposure to "Moses in Egypt" was when I examined it as part of writing a paper on "Moses und Aron", to compare the two approaches to the same story. They are... very different.
I also have a Met subscription for this coming season. That subscription also contains a Thomas Ades opera, his "The Tempest", as well as the Met's new "Giulio Cesare", "Le Nozze di Figaro", "Le Comte Ory", "Les Troyens", and "Un Ballo in Maschera". I am more excited for the first three I mentioned than the second three, but the latter will continue my journey into finally learning about French classical music, and feature some of the Met's top singers. I think I'll be seeing Juan Diego Florez live for the first time, for example. (I sometimes put his "Ah mes amis" on repeat for the jawdropping ease with which he does the high notes. Yes, I know that's shallow and immature.)