| Today's Classical Music News - 21 April 2005 [message #225968] |
Thu, 21 April 2005 12:21 |
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2005-04-21
After a long and bitter resistance, poor Norman Lebrecht finally
succumbs to the dumbing pandemic (or the great Riccardo Muti is ousted
from La Scala in favor of 'West Side Story', 'Phantom of the Opera' and
assorted pushy Anglo/Judeo lollipops)
http://groups.yahoo.com/group/der_juedische_kaiser_von_atlan tis
Thirty-six evenings ago in Rouen, the legendary musical aristocrat
Cheryl Studer sang a radiant Chrysothemis in Richard Strauss' Elektra
http://www.altamusica.com/concerts/document.php?action=3DMor eDocument&DocRe=
f=3D2466&DossierRef=3D2179
http://www.anaclase.com/opera/articles/elektra2.htm
The late Lucia Popp spins in her grave while her ex
destroys his entrusted enterprise by abusing it into abject denigration
(with German reparations-style government funding)
http://groups.yahoo.com/group/der_juedische_kaiser_von_atlan tis
Klaus Heymann's feted Parade of Deception comes full circle and
inevitably looks in the mirror of fate
http://www.scena.org/columns/lebrecht/050413-NL-historical.h tml
New-music-just-because, however deplorable its quality, and musicians'
stress and injuries are the least of the problems afflicting the Boston
Symphony Orchestra:
- Levine's grotesque physical form
- Levine's failing health
- Levine's diminishing ability to make music worth our while
- and what of the other rumors?
http://www.artsjournal.com/sandow/archives20040101.shtml#660 76
Also at the BSO, the incompetent Elizabeth Byrne replaces the
left-of-zero Debbie Void as Senta and breaks into a coughing fit during
the live radio transmission - the local working-class critics nearly
call it a triumph
http://listserv.cuny.edu/Scripts/wa.exe?A2=3Dind0503c&L= 3Dopera-l&T=3D0&F=
=3D&S=3D&P=3D4246
Ever at a loss for anything of import to parade, musically, vocally or
artistically speaking, Debbie Void's Public Relationists desperately
resort to lard-centered stories hoping to generate some interest
http://www.andante.com/article/article.cfm?id=3D25340
The reason why Anthony Tommasini values Ren=E9e Fleming's exaggerated,
jazz-interpreted points: "The longer I go to concerts, the more I value
performances that do not exaggerate expressive touches or make
interpretive points."
"Some Like It Cool (er, Up The Ass)"
16 March 2005
http://www.nytimes.com
At The Met, Maria Guleghina's balls hit the wall so hard, they
flattened on impact: a blue-collar wail heard around the globe (or THE
BROADCASTS MUST END)
http://listserv.cuny.edu/Scripts/wa.exe?A2=3Dind0504b&L= 3Dopera-l&T=3D0&F=
=3D&S=3D&P=3D13692
A crude, squally and clueless Karita Mattila fails at Covent Garden
http://entertainment.timesonline.co.uk/article/0,,14936-1567 428,00.html
Norma in Amsterdam: Klaus Heymann's Old Nelly
(Miricioiu) mimed (since she couldn't sing) while the Younger Aliberti
sang (since she couldn't mime) - they weep - the cheated audience
applauds - they triumph
http://listserv.cuny.edu/Scripts/wa.exe?A2=3Dind0503b&L= 3Dopera-l&T=3D0&F=
=3D&S=3D&P=3D22296
"Some Like It Up The Ass (er, Cool)" by Anthony Tommasini: suddenly,
strangely, it is Kosher to be frigid, pallid, boring, antiseptic,
generic, anonymous, colorless, impersonal, faceless, irrelevant,
rigorous and worse and you-name-it
16 March 2005
http://www.nytimes.com
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