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Oct. 14th, 2006 10:25 pmSo, I still don't like modern adaptions.
Elisir d'amore was really good last night, but I felt that there was no reason to set it at a diner in the fifties. Is it really improved by using Fred Astaire and Grace Kelly instead of Paris and Helen?
I think I feel just a little patronized, as if the audience won't get it, or won't think it's funny unless it has pop culture references. I mean, I'm a mythology nerd, I'll still think it's funny, I promise. And really, if you're at the opera, you probably have some familiarity with the myths.
But overall, it was good. The set was nice, and the principles were all quite good. Adina reminded me of Sutherland, in tone, a little bit. Not as good, of course.
Also, going to operas with one Really Famous Aria is kind of annoying, because you get the feeling that everyone's waiting for it, and is going to applaud regardless of the (in this case) tenor's actual quality.
...God, Turandot's going to be Hell.
Elisir d'amore was really good last night, but I felt that there was no reason to set it at a diner in the fifties. Is it really improved by using Fred Astaire and Grace Kelly instead of Paris and Helen?
I think I feel just a little patronized, as if the audience won't get it, or won't think it's funny unless it has pop culture references. I mean, I'm a mythology nerd, I'll still think it's funny, I promise. And really, if you're at the opera, you probably have some familiarity with the myths.
But overall, it was good. The set was nice, and the principles were all quite good. Adina reminded me of Sutherland, in tone, a little bit. Not as good, of course.
Also, going to operas with one Really Famous Aria is kind of annoying, because you get the feeling that everyone's waiting for it, and is going to applaud regardless of the (in this case) tenor's actual quality.
...God, Turandot's going to be Hell.
