Been a long time since I've posted anything and a rainy morning in San Diego seems like a perfect time to break the blog silence.
There is a hoopla or rather a grumbling in the press about the resent performance of one of today's most prominent divas at the biggest opera house in the US. Ana Netrebko is not the biggest name in opera these days, that probably goes to Rene Flemming but it is arguable that Mrs. Netrebko is the diva du jour. The Metropolitan opera is the most important opera theater in the United States and though few would argue that it is the most important theater in the world it certainly is a world focal point due to the media interest, international flavor (most other theaters have stronger national ties) and the privately raised budget which is unheard of in Europe.
While I wasn't there and can't comment on the moment or the context I would like to just add that theater is a live event and there is an interaction between the audience and performers which exactly what makes it worth watching live over seeing it on DVD or in the movie theaters. Performers are rather perceptive, sometimes too much so, of the audience and their "vibe" and on the other side, audience members are eager to show their appreciation for the performance and often want to be involved in the process.
A choral conducting colleague of mine has often lamented the fact that local audiences are so eager to applaud that they will often start on the ultimate chord of a piece without letting the sound die out from the space or even letting the musical idea come to an end. To my point of view this is a good problem to have but in the view of my colleague they are trampling all over the artistry of the ensemble.
At any rate, this article by Zachary Woolfe gives a good overview of the situation and a history of some notable similar situations.
http://www.observer.com/2011/10/grin-and-bear-it-why-anna-netrebkos-smile-got-the-critics-riled/?show=all
There is a hoopla or rather a grumbling in the press about the resent performance of one of today's most prominent divas at the biggest opera house in the US. Ana Netrebko is not the biggest name in opera these days, that probably goes to Rene Flemming but it is arguable that Mrs. Netrebko is the diva du jour. The Metropolitan opera is the most important opera theater in the United States and though few would argue that it is the most important theater in the world it certainly is a world focal point due to the media interest, international flavor (most other theaters have stronger national ties) and the privately raised budget which is unheard of in Europe.
While I wasn't there and can't comment on the moment or the context I would like to just add that theater is a live event and there is an interaction between the audience and performers which exactly what makes it worth watching live over seeing it on DVD or in the movie theaters. Performers are rather perceptive, sometimes too much so, of the audience and their "vibe" and on the other side, audience members are eager to show their appreciation for the performance and often want to be involved in the process.
A choral conducting colleague of mine has often lamented the fact that local audiences are so eager to applaud that they will often start on the ultimate chord of a piece without letting the sound die out from the space or even letting the musical idea come to an end. To my point of view this is a good problem to have but in the view of my colleague they are trampling all over the artistry of the ensemble.
At any rate, this article by Zachary Woolfe gives a good overview of the situation and a history of some notable similar situations.
http://www.observer.com/2011/10/grin-and-bear-it-why-anna-netrebkos-smile-got-the-critics-riled/?show=all
