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Met "Rigoletto" on PBS
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EvelynVogtGamble(Divamanque)
May 19, 2013, 4:23:36 PM5/19/13
to
I'm not sure when the rest of the country was subjected to the broadcast
we suffered Friday night in Arizona, but IMO, the Met has achieved a new
low in it's homage to ego-obsessed stage directors! I only watched long
enough to identify "Quest o quella" in the familiar-sounding music I
momentarily did not recognize. (The English sub-titles bore little or
no resemblance to the Italian that was being sung, and the staging
provided no clue whatsoever.) Agreed, today's female singers all look
(and more-or-less sound) alike, but a soprano made up to resemble
Marilyn Monroe was a bit too much, even for a director at the "modern"
Met!
"Eurotrash" is regrettable enough in Europe, but at least there both
audiences and directors are familiar with the original versions, and I
know some European singers regard "modernizing" as a challenge. In
America, where many attending are hearing an opera for the first time,
such grotesquerie is unpardonable! (No wonder so many Americans are
"turned off" by opera - if my only experience were some of the trashy
attempts I've heard on Met broadcasts in recent years, I would be, too.)
we suffered Friday night in Arizona, but IMO, the Met has achieved a new
low in it's homage to ego-obsessed stage directors! I only watched long
enough to identify "Quest o quella" in the familiar-sounding music I
momentarily did not recognize. (The English sub-titles bore little or
no resemblance to the Italian that was being sung, and the staging
provided no clue whatsoever.) Agreed, today's female singers all look
(and more-or-less sound) alike, but a soprano made up to resemble
Marilyn Monroe was a bit too much, even for a director at the "modern"
Met!
"Eurotrash" is regrettable enough in Europe, but at least there both
audiences and directors are familiar with the original versions, and I
know some European singers regard "modernizing" as a challenge. In
America, where many attending are hearing an opera for the first time,
such grotesquerie is unpardonable! (No wonder so many Americans are
"turned off" by opera - if my only experience were some of the trashy
attempts I've heard on Met broadcasts in recent years, I would be, too.)
Warren Post
May 19, 2013, 7:04:12 PM5/19/13
to
On 05/19/2013 02:23 PM, EvelynVogtGamble(Divamanque) wrote:
> I'm not sure when the rest of the country was subjected to the broadcast
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
> low in it's homage to ego-obsessed stage directors!
Call me a masochist, but some perverse impulse drew me to the Met's
> I'm not sure when the rest of the country was subjected to the broadcast
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
> low in it's homage to ego-obsessed stage directors!
clips of the production:
http://www.metoperafamily.org/opera/rigoletto-verdi-tickets-2013.aspx
My 12 year old stepdaughter, who was moved to tears by McVicar's
production, took one look at the clip of Questa o quella and said -- and
I quote -- "yuck". Which demonstrates she has better artistic sense than
Michael Mayer.
--
Warren Post
http://my.opera.com/wpost/
Carmen Amoros Goldberg
May 19, 2013, 11:18:47 PM5/19/13
to
Hello I'm Carmen Amoros! Read your comment. Wow! I'm speechless. Thank you.
wagnerfan
May 20, 2013, 9:44:07 AM5/20/13
to
didn;t like the production rather thanjust saying its Eurotrash which
doesn't say anything. I have two minds about the production - some
moments do work - accepting the changes the director made,then the
Duke singing the opening aria like a lounge lizard makes perfect sense
and the appearance of Sparafucile as a hired assassin who has actually
been there for the whole first scene does as well. The big problem I
have is the same one I had withthe famous Miller production which set
it in Little Italy. That is the characters themselves are not the ones
Verdi was giving us - the character of a hunchbacked jester to a Duke
in Mantua in the 16thcentury has nothing to do with the character we
saw at the MET or in Millers productions and the other characters
perceptions of Rigoletto are different as well. Verdi tells us a lot
about Rigoletto in his Pari Siamo but that characte,r despised and
feared as little more than an animal (thats how deformed people were
seen back than), is nothing like whatwe saw in those two productions,
And once those perceptions are altered by the direcotr, then
everything changes. The music doesn't match and the relationships the
composer workes with are different. I don't miund a director making
changes which illuminate the characters for me in ways I hadn't
noticed but changing them completely is not the answer. Wagner Fan
Ricky Jimenez
May 20, 2013, 12:53:56 PM5/20/13
to
When it comes to movies, it doesn't seem that popular taste regards
modernizing as important. In fact historical accuracy seems to be an
important production goal when making a movie version of a classic
novel. So what explains the continued presence of Regietheater in
opera productions? Is there any data to show that it attracst a
larger audience than settings closer to the original?
modernizing as important. In fact historical accuracy seems to be an
important production goal when making a movie version of a classic
novel. So what explains the continued presence of Regietheater in
opera productions? Is there any data to show that it attracst a
larger audience than settings closer to the original?
Message has been deleted
wagnerfan
May 20, 2013, 2:53:50 PM5/20/13
to
On Mon, 20 May 2013 13:01:15 -0400, Gogarty <gog...@dublin.edu>
wrote:
>Funny no one mentioned the English production of the Mafia Rigoletto.
>
>The plot is timeless. It would play just as well for the Jetsons. There
>will always be bosses and sycophants.
I mentioned it and the reason it doesn't work Wagner fan
wrote:
>Funny no one mentioned the English production of the Mafia Rigoletto.
>
>The plot is timeless. It would play just as well for the Jetsons. There
>will always be bosses and sycophants.
I mentioned it and the reason it doesn't work Wagner fan
EvelynVogtGamble(Divamanque)
May 20, 2013, 5:50:03 PM5/20/13
to
was better (or anywhere near as good as) its original? The same holds
true in opera, IMO - some operatic "updates" work better than others.
(The "Little Italy" version of Rigoletto is a case in point.) I am
reminded of a Los Angeles "Capuletti" updated to the suffragette era
which made Juliet seem even more of a wimp for agreeing to an arranged
marriage when other women were asserting their rights. On the other
hand, I saw a Falstaff in Brussels, set entirely in a British Railways
buffet, which worked surprisingly well. (Of course, given a Falstaff
with the acting ability of a Jose van Dam helped a lot.)
Michael Bednarek
May 20, 2013, 9:02:26 PM5/20/13
to
On Mon, 20 May 2013 14:50:03 -0700, "EvelynVogtGamble(Divamanque)" wrote
in rec.music.opera:
"The Maltese Falcon" (1941) is at the top of everyone's "list of remakes
better than the original". "A Star Is Born" (1954) is also undisputed.
There are many more.
As for opera: how often can one profitably see "La boh�me" in the same
faux garrets in a setting which was anachronistic when it premiered? Baz
Luhrmann's 1990 production was an update to 1957 that worked; many more
in a similar vein followed. Alden's 2009 "Don Giovanni" at NYCO was well
regarded. MacVicar's "Cesare", Decker's "Traviata", Traynor's "Magic
Flute" are just a few productions which were non-traditional but
successful updates. "Les Troyens" has to be staged in some kind of
updated setting, sometimes even in the future (Valencia 2011, Fura dels
Baus). I remember great �clats over productions at the Festspielhaus in
the 1950s and 60s which are now regarded as classics. "The Times They
Are a-Changin'", or if you're more classically minded: tempora mutantur
<em>nos et mutamur in illis.</em>
Yes, there are some inexcusable howlers, like almost everything by
Bieito, much of Kosky, but even the "Rigoletto" under discussion here
had some very striking and convincing moments, as wagnerfan here and
Tommasini in the NYT observed. But whatever crime may be committed on
stage, "prima la musica", and so it's still worth going.
--
Michael Bednarek, Brisbane "ONWARD"
in rec.music.opera:
better than the original". "A Star Is Born" (1954) is also undisputed.
There are many more.
As for opera: how often can one profitably see "La boh�me" in the same
faux garrets in a setting which was anachronistic when it premiered? Baz
Luhrmann's 1990 production was an update to 1957 that worked; many more
in a similar vein followed. Alden's 2009 "Don Giovanni" at NYCO was well
regarded. MacVicar's "Cesare", Decker's "Traviata", Traynor's "Magic
Flute" are just a few productions which were non-traditional but
successful updates. "Les Troyens" has to be staged in some kind of
updated setting, sometimes even in the future (Valencia 2011, Fura dels
Baus). I remember great �clats over productions at the Festspielhaus in
the 1950s and 60s which are now regarded as classics. "The Times They
Are a-Changin'", or if you're more classically minded: tempora mutantur
<em>nos et mutamur in illis.</em>
Yes, there are some inexcusable howlers, like almost everything by
Bieito, much of Kosky, but even the "Rigoletto" under discussion here
had some very striking and convincing moments, as wagnerfan here and
Tommasini in the NYT observed. But whatever crime may be committed on
stage, "prima la musica", and so it's still worth going.
--
Michael Bednarek, Brisbane "ONWARD"
Message has been deleted
cycjec
May 22, 2013, 9:37:38 PM5/22/13
to
"EvelynVogtGamble(Divamanque)" <evg...@earthlink.net> wrote:
> I'm not sure when the rest of the country was subjected to the broadcast
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
> low in it's homage to ego-obsessed stage directors!
my condolences that is meant sincerely and not ironically
> I'm not sure when the rest of the country was subjected to the broadcast
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
> low in it's homage to ego-obsessed stage directors!
DLU
May 25, 2013, 12:47:54 AM5/25/13
to
On 5/20/2013 06:44, wagnerfan wrote:
> On Sun, 19 May 2013 20:18:47 -0700 (PDT), Carmen Amoros Goldberg
> On Sun, 19 May 2013 20:18:47 -0700 (PDT), Carmen Amoros Goldberg
> it would have been better if the poster gave specific reasons why she
> didn;t like the production rather thanjust saying its Eurotrash which
> doesn't say anything. I have two minds about the production - some
> moments do work - accepting the changes the director made,then the
> Duke singing the opening aria like a lounge lizard makes perfect sense
> and the appearance of Sparafucile as a hired assassin who has actually
> been there for the whole first scene does as well. The big problem I
> have is the same one I had withthe famous Miller production which set
> it in Little Italy. That is the characters themselves are not the ones
> Verdi was giving us - the character of a hunchbacked jester to a Duke
> in Mantua in the 16thcentury has nothing to do with the character we
> saw at the MET or in Millers productions and the other characters
> perceptions of Rigoletto are different as well. Verdi tells us a lot
> about Rigoletto in his Pari Siamo but that characte,r despised and
> feared as little more than an animal (thats how deformed people were
> seen back than), is nothing like whatwe saw in those two productions,
> And once those perceptions are altered by the direcotr, then
> everything changes. The music doesn't match and the relationships the
> composer workes with are different. I don't miund a director making
> changes which illuminate the characters for me in ways I hadn't
> noticed but changing them completely is not the answer. Wagner Fan
>
EVG is negative about every production. None of them meet her standards
> didn;t like the production rather thanjust saying its Eurotrash which
> doesn't say anything. I have two minds about the production - some
> moments do work - accepting the changes the director made,then the
> Duke singing the opening aria like a lounge lizard makes perfect sense
> and the appearance of Sparafucile as a hired assassin who has actually
> been there for the whole first scene does as well. The big problem I
> have is the same one I had withthe famous Miller production which set
> it in Little Italy. That is the characters themselves are not the ones
> Verdi was giving us - the character of a hunchbacked jester to a Duke
> in Mantua in the 16thcentury has nothing to do with the character we
> saw at the MET or in Millers productions and the other characters
> perceptions of Rigoletto are different as well. Verdi tells us a lot
> about Rigoletto in his Pari Siamo but that characte,r despised and
> feared as little more than an animal (thats how deformed people were
> seen back than), is nothing like whatwe saw in those two productions,
> And once those perceptions are altered by the direcotr, then
> everything changes. The music doesn't match and the relationships the
> composer workes with are different. I don't miund a director making
> changes which illuminate the characters for me in ways I hadn't
> noticed but changing them completely is not the answer. Wagner Fan
>
whatever they are. There are no performers today that are as good as the
ones from the past. All the sopranos miss their notes, all the tenors
strain to make their voices heard, on and on.
I think the producer was having a bit of fun with this production. I did
not care for the Monroe characterization, there are plenty of sexy
hangers on in Vegas. It does not matter if Rigoletto is a hunchback, it
liked his performance. Most of the singing was quite good from my
perspective, although some of the characterizations were a bit off the mark.
The tale is timeless, so what if it did not not follow Verdi word to
word, the meaning and results came through. The duke is a playboy that
seduces every woman that he can, and he has no conscience. Rigoletto
allows his hatred to kill the one person who loves him, and whom he
loves. So get over it. It is time some of these operas were modernized.
They were the popular entertainment of the day and were timely then, so
allow them to be brought into the 21st century.
Opera was the most popular entertainment during the California Gold
Rush. There were no movies, radios, records, so it was popular
entertainment and you can bet most of the performers were not up to La
Scala level then.
--
***************************************
* This is the Spammish Inquisition *
* Not Lumber Cartel Unit 75 [TINLC] *
* I am not SPEWS.ORG *
***************************************
Message has been deleted
chsiii
May 25, 2013, 11:40:00 AM5/25/13
to
"EVG is negative about every production. None of them meet her standards
whatever they are. There are no performers today that are as good as the
ones from the past. All the sopranos miss their notes, all the tenors
strain to make their voices heard, on and on."
And isn't it all just too true. The why? The attitude of DLU 's remarks
whatever they are. There are no performers today that are as good as the
ones from the past. All the sopranos miss their notes, all the tenors
strain to make their voices heard, on and on."
explains the why. Less is learned, less is understood, less is expected, so
less satisfies more. Just..."have a bit of fun."
EvelynVogtGamble(Divamanque)
May 25, 2013, 3:24:59 PM5/25/13
to
DLU wrote:
> EVG is negative about every production. None of them meet her standards
> whatever they are. There are no performers today that are as good as the
> ones from the past. All the sopranos miss their notes, all the tenors
> strain to make their voices heard, on and on.
singers on the current rosters. They just don't seem to sing at the Met
anymore - indeed many of them don't even visit the U.S. (With no loss to
their successful careers).
>
> I think the producer was having a bit of fun with this production. I did
> not care for the Monroe characterization, there are plenty of sexy
> hangers on in Vegas. It does not matter if Rigoletto is a hunchback, it
> liked his performance. Most of the singing was quite good from my
> perspective, although some of the characterizations were a bit off the
> mark.
(As I've mentioned elsewhere, some updates DO work, but IMO this was not
one of them.) Also, I didn't dignify this production by calling it
"Eurotrash" - like most of those originated in America, it was far
worse! "Eurotrash" at least originates with stage directors who KNOW
the original and actually have some MUSICAL background. It is also aimed
at an audience familiar with the traditional version of the "update".
>
> Opera was the most popular entertainment during the California Gold
> Rush. There were no movies, radios, records, so it was popular
> entertainment and you can bet most of the performers were not up to La
> Scala level then.
WERE "records", even though they were on cylinders, and the fidelity
left something to be desired.)
EvelynVogtGamble(Divamanque)
May 25, 2013, 3:30:36 PM5/25/13
to
totally ignorant of even important historical events, if they happened
before they were born? (For example WW2 and the Holocaust deniers.)
>
>
Ato Z
May 26, 2013, 12:24:55 PM5/26/13
to
And quite apart from the surreal production and mediocre singing, the
acting was some of the worst I've ever seen - especially the title
character. A walk through. Pitiful. To the guy who thought this was just
dandy, have you tried the '77 Met version with Domingo? If so, can you
really conclude that there's any comparison in the quality of the
singing (and acting) all around?
BTW, does anyone else think the Sparafucile looked a lot like Rene Pape?
acting was some of the worst I've ever seen - especially the title
character. A walk through. Pitiful. To the guy who thought this was just
dandy, have you tried the '77 Met version with Domingo? If so, can you
really conclude that there's any comparison in the quality of the
singing (and acting) all around?
BTW, does anyone else think the Sparafucile looked a lot like Rene Pape?
Ricky Jimenez
May 26, 2013, 4:43:08 PM5/26/13
to
On Sun, 26 May 2013 11:24:55 -0500, moonen...@webtv.net (Ato Z)
wrote:
Anybody seen this bluray of the Parma production?
http://www.amazon.com/gp/product/B0094AH3E8/ref=ox_sc_act_title_3?ie=UTF8&psc=1&smid=A7IA6AV4KH4FA
This is not to be confused with another Nucci bluray of the Zurich
version.
wrote:
http://www.amazon.com/gp/product/B0094AH3E8/ref=ox_sc_act_title_3?ie=UTF8&psc=1&smid=A7IA6AV4KH4FA
This is not to be confused with another Nucci bluray of the Zurich
version.
chsiii
May 26, 2013, 4:55:19 PM5/26/13
to
Thanks, dear - but I'm not Charlie.
"EvelynVogtGamble(Divamanque)" wrote in message
news:28idnVoREIXojDzM...@earthlink.com...
"EvelynVogtGamble(Divamanque)" wrote in message
news:28idnVoREIXojDzM...@earthlink.com...
Ricky Jimenez
May 26, 2013, 5:53:49 PM5/26/13
to
with Russian subtitles: https://www.youtube.com/watch?v=C_Fmis-aJ-c
DLU
May 26, 2013, 10:15:44 PM5/26/13
to
On 5/25/2013 12:24, EvelynVogtGamble(Divamanque) wrote:
>
>
> DLU wrote:
>
>> EVG is negative about every production. None of them meet her
>> standards whatever they are. There are no performers today that are as
>> good as the ones from the past. All the sopranos miss their notes, all
>> the tenors strain to make their voices heard, on and on.
>
> You have me confused with someone else - There are plenty of GOOD
> singers on the current rosters. They just don't seem to sing at the Met
> anymore - indeed many of them don't even visit the U.S. (With no loss to
> their successful careers).
>
>
>
>
> DLU wrote:
>
>> EVG is negative about every production. None of them meet her
>> standards whatever they are. There are no performers today that are as
>> good as the ones from the past. All the sopranos miss their notes, all
>> the tenors strain to make their voices heard, on and on.
>
> You have me confused with someone else - There are plenty of GOOD
> singers on the current rosters. They just don't seem to sing at the Met
> anymore - indeed many of them don't even visit the U.S. (With no loss to
> their successful careers).
>
>
> I assume you are too young to remember singers who could really SING.
> (As I've mentioned elsewhere, some updates DO work, but IMO this was not
> one of them.) Also, I didn't dignify this production by calling it
> "Eurotrash" - like most of those originated in America, it was far
> worse! "Eurotrash" at least originates with stage directors who KNOW
> the original and actually have some MUSICAL background. It is also aimed
> at an audience familiar with the traditional version of the "update".
Yes, unlike you, I am too young to have heard Galli Gurci in person.
> (As I've mentioned elsewhere, some updates DO work, but IMO this was not
> one of them.) Also, I didn't dignify this production by calling it
> "Eurotrash" - like most of those originated in America, it was far
> worse! "Eurotrash" at least originates with stage directors who KNOW
> the original and actually have some MUSICAL background. It is also aimed
> at an audience familiar with the traditional version of the "update".
The earliest performance I can remember is Lilly Pons in Rigoletto with
Jan Peerce, and I was pretty young at the time. I also her her with di
Stefano in Lucia. And yes I have not heard a really good bel canto
singer lately.
Oh when I was staioned in NJ after the 'Korean Police Action" we got
free tickets to the met at the USO, and I heard Robert Merrill several
times.
I guess I did not get the training in voice that you profess to know
about. However, I do not seem to be able to find any columns by you as
an opera critic. You do not seem to understand that your opinions are
not facts.
DLU
May 26, 2013, 10:28:40 PM5/26/13
to
as if we could have a rational conversation anyway. It is pretty hard to
converse with someone who is an expert in all things, and who regards
his opinion as superior to facts.
And by the way, my wife and I do have season tickets to the SF Opera,
and we go to as many of the Met digital broadcasts as we can, but from
your point of view, we know nothing.
DLU
May 26, 2013, 10:47:48 PM5/26/13
to
On 5/25/2013 04:51, Gogarty wrote:
> In article <76c7$51a041d2$453ef9d3$13...@EVERESTKC.NET>, da...@justthe.net
> says...
>>
> Hear! Hear! And of course the libretto is based on another story the name and
> author of which escape me just now.
It is based on Victor Hugo's "Le roi s'amuse. The censors in Venice
referred to the libretto as "obscene and disgusting, and it was banned
in Venice. It was Verdi's favorite opera, but he said that La Traviata
would be the public's favorite.
The Venitian censor police considered such operas as attacks on the
royalty, and the Austrians who kept tight control over Italy. Verdi was
a supporter of the Risoriomento and Garabaldi. There was a popular myth
that Va Pensiero in Nabucco became an unofficial Italian anthem, but the
was actually Imenso jehova that excited the populace.
> In article <76c7$51a041d2$453ef9d3$13...@EVERESTKC.NET>, da...@justthe.net
> says...
>>
> Hear! Hear! And of course the libretto is based on another story the name and
> author of which escape me just now.
It is based on Victor Hugo's "Le roi s'amuse. The censors in Venice
referred to the libretto as "obscene and disgusting, and it was banned
in Venice. It was Verdi's favorite opera, but he said that La Traviata
would be the public's favorite.
The Venitian censor police considered such operas as attacks on the
royalty, and the Austrians who kept tight control over Italy. Verdi was
a supporter of the Risoriomento and Garabaldi. There was a popular myth
that Va Pensiero in Nabucco became an unofficial Italian anthem, but the
was actually Imenso jehova that excited the populace.
Message has been deleted
chsiii
May 27, 2013, 10:47:19 AM5/27/13
to
I come here to express my opinion, not to have "rational" conversation, and
I don't usually address anyone in the first person in doing so, but in this
case, an exception is appropriate. My point - to repeat: You don't know
"nothing", just LESS - a lot less than EVG, whom you don't seem to mind
insulting more than a little.
"DLU" wrote in message news:b883c$51a2c5f5$453ef9d3$27...@EVERESTKC.NET...
I don't usually address anyone in the first person in doing so, but in this
case, an exception is appropriate. My point - to repeat: You don't know
"nothing", just LESS - a lot less than EVG, whom you don't seem to mind
insulting more than a little.
"DLU" wrote in message news:b883c$51a2c5f5$453ef9d3$27...@EVERESTKC.NET...
Ato Z
May 27, 2013, 11:21:34 AM5/27/13
to
<<Anybody seen this BluRay of the Parma production?>>
I have not yet; but soon will. Thank you for bringing this to our
attention. It seems to be getting superlative reviews. Anytime they
encore "Si, Vendetta", something special must be going on!:)
I have not yet; but soon will. Thank you for bringing this to our
attention. It seems to be getting superlative reviews. Anytime they
encore "Si, Vendetta", something special must be going on!:)
EvelynVogtGamble(Divamanque)
May 27, 2013, 5:22:46 PM5/27/13
to
chsiii wrote:
> Thanks, dear - but I'm not Charlie.
EvelynVogtGamble(Divamanque)
May 27, 2013, 5:25:11 PM5/27/13
to
DLU wrote:
>
> I guess I did not get the training in voice that you profess to know
> about. However, I do not seem to be able to find any columns by you as
> an opera critic. You do not seem to understand that your opinions are
> not facts.
chromolume
Jun 1, 2013, 12:34:38 AM6/1/13
to
My problem with the production is that it simply wasn't directed consistently. The singers often didn't seem to know what exactly to do with themselves onstage - particularly the male chorus, who had no distinguishing character relationships among each other or with the principals, and who basically stood around and sang.
Well - if they can stand around and sing on a set that resembles 1950's Las vegas, they could just as easily stand around and sing on a set that resembles 1500's Mantua. Michael Mayer simply didn't, for me, qualify what makes these characters - these PEOPLE - ALL of them - part of the updated scenario. (And often, what he DID do, like that ridiculous nonsense with the elevators and the Egyptian coffin in the abduction scene, made littler sense than anything in Piave's original libretto.) It's not enough to just make the sets and costumes different. And for me, that's all he did.
Fail.
On Sunday, May 19, 2013 4:23:36 PM UTC-4, EvelynVogtGamble(Divamanque) wrote:
> I'm not sure when the rest of the country was subjected to the broadcast
>
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
>
Well - if they can stand around and sing on a set that resembles 1950's Las vegas, they could just as easily stand around and sing on a set that resembles 1500's Mantua. Michael Mayer simply didn't, for me, qualify what makes these characters - these PEOPLE - ALL of them - part of the updated scenario. (And often, what he DID do, like that ridiculous nonsense with the elevators and the Egyptian coffin in the abduction scene, made littler sense than anything in Piave's original libretto.) It's not enough to just make the sets and costumes different. And for me, that's all he did.
Fail.
On Sunday, May 19, 2013 4:23:36 PM UTC-4, EvelynVogtGamble(Divamanque) wrote:
> I'm not sure when the rest of the country was subjected to the broadcast
>
> we suffered Friday night in Arizona, but IMO, the Met has achieved a new
>
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