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Robert Gable

Agree about Kittie and Pasqualita; disagree about Oppie as I liked Finley better than the week before but again, that could be his Ives CD seeping into my perception. And I'm back to listening to Ives songs today, as a counter to all that operatic destruction this month...

Alex Ross

Thanks for the wonderful report, M. C. Wish I could have been there. Like you, I loved the ending exactly as it was, and I'm a little afraid of the idea of timpani jumping in there. When a major work comes along, it's our job as listeners to make sense of it, not the composer's job to try to make it clearer for us. Then again, Beethoven wrote a new ending for Opus 130 when people complained about the Grosse Fuge.

Lisa Hirsch

Is anyone in a position to ask Adams what motivated the change? Would he talk, if asked?

Rehearsals are not performances; it is possible he and Sellars weren't happy with the effect of the ending and decided to make the changes on their own. Adams wouldn't be the first composer to revise a work after its initial performance or run of performances: Puccini and Madame Butterfly, for instance.


Enjoy Ayre!! You're in for a treat - Dawn is absolutely stunning and impressive and fabulous in that piece. Give her my love, will you?


What a wonderful wrap-up. The whole experience was great for everyone involved, I think -- the composer, director/librettist, performers, and audience. It wasn't negligible and we all get to brag decades later about being part of the world premiere BEFORE it was revised.

And yes, it is a 3-hour symphony, and the through-composed second act is probably the most ambitious thing Adams has ever attempted, which is saying something.

As for Standing Room Byaatches, it's best to go to the balcony on nights when there are too many people. Back in the old days when you could stand at the back of Dress Circle and the entrance was at the front doors, it really was a Land Rush. An usher would come out and tell everyone they were "not to run," but the second they had torn somebody's ticket, that person RAN, usually up a number of flight of stairs with elbows akimbo. No Byaaatch going to make my place!

Weeknights are really the time to go standing room. You can usually snag a seat after the first act too, if you're in the mood.


Thank you, M.C- for your continued dedication to blogging/journalism on this topic. I look forward to seeing this piece put up by more forward looking opera companies in the nation.

Enjoy your next musical experiences.

(P.S. I haven't heard from Tim Krol in absolutely ages. Hope he's doing well. Thank you also for your support during my Met week.)

Lisa Hirsch

Land Rush indeed. I stood, memorably, though Rheingold, Walkuere, Makrapoulos Case, Midsummer Night's Dream, Turandot, and FROSCH in those days.

And, yes, M. C-, faboo roundup.


Hello again.

I know Beth - she sang Carmen to my Micaela for WNO a few years ago, and I have met her since in NYC. It's good to read a brava from you to her.

M. C-

So many comments, so little time...

Robert, the Ives is on the Amoeba Shopping List. I am most envious that you have it already.

Alex, I wish you could have come back for this. I feel very lucky to have been able to watch the piece change and grow through the course of the run. I've always thought it a shame that the only night that gets a review is the opening, especially when we're talking about a theatrical production.

Lisa, how true that rehearsals are not performances, and it's precisely that reason that musical theater shows get some real performances under their belt in New Haven before landing on Brawdway. It's sad that opera (and contemporary music in general) doesn't get that opportunity. We're so premiere-obsessed when it comes to new music, which is strange when any performer can tell you how much a piece will change after it's been performed a few times.

ACB, we've talked about this before, but I will restate the obvious: Dawn is a superhero. I'll try to write about the Ayre performance sometime (but perhaps Heather will grace us with her reactions first?).

SFMike, I find there are three major disadvantages to being up in the balcony standing room: you have no chance at all of being given an orchestra seat by a patron whose friend didn't show; the stage really is awfully far away; and the people-watching is much more fun on the orchestra level! Ah well, I too wish the Dress Circle were still open to standees. "Land Rush" is a perfect description, btw. It's going into the memory bank.

MezzoG, last time I sang with Tim was several months ago, and since then I think he's made the move down to LA. Great singer, smart musician, superfantastic guy. I'm glad we have a common acquaintance! As for Doctor A, it's coming your way (Spring 2008)...

Geraldine, I cannot wait to hear you sing. (Happy Birthday didn't count, I'm afraid!) Some moments of Beth's performance were so striking, they remain some of the most memorable events of the production. I'm glad to know she's a colleague of yours.

As for opening night, I feel very certain that the stage went black and then we heard the Japanese voice. It was, in my opinion, quite stunning and amazing. I was sorry it was so different the second time I saw the piece. I am really curious about the change, and hope to find out why they made that choice.

Henry Holland

I've been going to SFO since 1989 and I've always gotten the standing room tickets. I don't like downstairs at all; the overhang muffles the sound too much. I immediately go upstairs and get a spot on the right (looking toward the stage)--great sound.

Any ideas about opera's SFO is doing in 2006?

Lisa Hirsch

Tristan und Isolde: Christine Brewer's Web page at Askonas Holt, her agent, says she is under contract in SF. Other than that, dunno.

Henry Holland

That's a good start, as long as it's not Siegfried Jersualem singing Tristan. We'll find out the rest of the season in February, I guess.

M. C-

Via rysankekfreak at Civic Center, the rumor mill is spreading the following for the 06/07 season:


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