Rosenkavaliering tonight

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On tonight at 8.15 p.m., UTC+1: Kasper Holten, Renée Fleming and Margaret Reynolds (Yes, that Margaret Reynolds. – Quick, you have two more hours to read “Ruggerio’s Deceptions, Cherubino’s Distractions”) talk about the new “Rosenkavalier” at ROH. The livestream will be accessible here.

(in a cumbersome twist of fate, I will be held up at another event and will not be able to watch, so please let me know what transpires, or if this might make it to YT on demand)

 

35 thoughts on “Rosenkavaliering tonight”

      1. Oh, thank you, Regie! Will download it immediately and keep looking forward to it throughout my meetings today (it’s probably too obvious if I sneak headphones into one of them…?)

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      1. quite enjoyable and I learned some things. but perhaps the best part was seeing the set designs and suddenly realizing, “I’M GOING TO SEE THIS IN PERSON AT THE MET.” That was pretty cool. 🙂

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    1. 🙂

      over here: sighs. Succumbs to finally buying an overpried MET in HD ticket.
      sighs again, looks forward to commentary by stray and towanda.

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        1. I initially thought it was the same date – but that should be an interesting comparison, live vs HD, and then the image direction in the video version. And, well, it IS Fleming’s last Marschallin, and Garanca’s last Octavian (and didn’t she say it was her last trouser role ever?)

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          1. Is she doing Tito again? That would be good news – even with her shift into heavy late 19th century, I would still want to hear her Sesto again.

            (I just remember the interview she gave about the upcoming Rosenkavalier where she said she was growing too old for trouser roles and was looking forward to retiring them, and that she was gearing up now for one last Octavian.)

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          2. No I don’t think so. I meant that I thought her LAST Tito at the Met was her last trouser role.

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          3. Thanks for clarifying! (I would have loved to be wrong on this count, but I am still holding out for my corporate Carmen. I am not yet convinced her material per so is asking for heavier Verdi by default, but I think she could work around that through technique and with a cooperative conductor – I could see/hear her as an interesting energy for an Amneris or Eboli in a slim, modern-edge setting, but I am not sure she would sign up for a regie angle?)

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        1. We’re seeing the Met in HD matinee in May. A friend and I bit the bullet this year and bought the whole season. (Even L’Amour de Loin!!)

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          1. The stylish way to go, for sure. (Do they have a discount model for the whole season?)

            And l’amour de loin doesn’t look half bad (at least the Lepage should translate well to the screen) – I meant to thank you for the link and your write-up, Rob, but commenting through wordpress on blogspot is a riddle with seven seals and – I used to try that over at towanda’s old place – even by email, I never manage to get through. *sigh*

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          2. Ya, blogger and wordpress don’t seem to play nicely with each other… well, blogger doesn’t anyway. My Dad’s theater (or a group he was in) was able to “Season tickets” for the Live in HD, but at my theater, there’s no discount, and I had to go through and buy each opera separately. However, they DO serve wine and cheese during intermission! And LADL was really really good today (I am still feeling a bit dazed from it, in spite of grocery shopping and piano practice since then). My tweeps know I now have a new mezzo idol: Tamara Mumford. And I like they way they treated her role–as she said in the intermission interview (I paraphrase a bit) is the Pilgrim a man, or a woman.. or even real at all. and I love the way she sang and acted the role!!

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          3. Thank you for the insights – I’m intrigued. Now I have to look up Mumford, of course, based on that approach to her role. More mezzos!!

            (and did I get that right, you’re on Twitter?)

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          4. Female power: Kaija Saariaho’s L’amour de loin (Distant love, or Love from afar) is going to be the first opera by a female composer to have it’s premiere at the Metropolitan Opera for over a hundred years. (The previous one was by Ethel Smyth in 1903.)
            And this event will also make history by having Finnish Susanna Mälkki (Chief conductor of Helsinki Philharmonic Orchestra) as the conductor. She is making her Met debut with the performance. Also MetHD cinemas are showing this now in December, so anyone in the reach of this service, watch for this event.

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          5. Thank you for the info, Hanna!
            I wan’t aware of Mälkki in there, that is some fantastic exposure!
            In a way, I would be happier if it were Mälkki conducting the next repertory classic and someone like YNS condicting L’amour de loin, to not have that “and now for our special Finnish women composer event, let’s have a Finnish woman conductor”.
            I’m grateful they’re doing it, and I’m grateful they’re bringing in someone with idiomatic knowledge of the music, and I’ll take any exposure we can get, I just wish there wouldn’t be this “special niche” feel to it. (Insolvable conundrum, I know)

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          6. Yes, it would be nice not to “tokenize” the event. Hopefully they will bring back Ms. Mälkki to lead some more “traditional” repertoire. Though much of her reputation is based on 20th and 21st century music, she seems to be very highly regarded in 19th century works as well. And maybe let a guy conduct L’Amour next time hopefully there’ll be a next time! This opera continues to grow on me as I re-listen to it and reflect on Saturday’s performance)

            P.S. don’t you love how we hijacked your Rosenkavalier post? 🙂

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          7. yes, that would be great – bring it back, and have it be less of a token also in conducting.
            (I never thought this post would garner much attention at all. Hijack away! And clearly, there must be a lot more talk on L’amour de loin!)

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