08. May 2010 · 2 comments · Categories: operaplot

As an American and someone who both lived in and loves New York City, I am puzzled and embarrassed by the conspicuous absence of support for Operaplot plotters from other New York City opera houses.

Gale Martin ponders New York’s lack of generosity when it comes to operaplot. Check out Miss Mussel’s prize pool. Only thing there from the big apple is American Lyric Theatre. Why don’t the Big Guys wanna play? Or even the somewhat smaller big guys?

So what’s up, you guys? Huh?

Yeah. I’m talkin’ to you.

08. May 2010 · Comments Off on MQOD · Categories: Quotes

When you are a leader, you have to learn how to work because you have to convince the people in front of you of your ideas. When I started to conduct in professional orchestras when I was 22 or 23, [I had to] convince people with a lot of experience, with the tradition of sound or the idea of specific piece. What I want from the musicians is to enjoy what they are doing.

-Gustavo Dudamel

I read it here.

I just read this:

In the first half of the evening, he limited his appearences to three short arias from Rodelinda, and Serse sharing the programme with the excellent Gabrieli Players, whose oboist Katharina Spreckelsen amazed one, playing a Concerto Grosso on a ventilless, wooden instrument, with circularly breathing virtuosity and superb phrasing.

I don’t understand … what is a “ventiless” instrument? I’m going to guess I’m just clueless. That seems to happen a lot these days! (I didn’t even know “ventiless” was a word … or does the writer mean “ventless”? But how can an instrument be ventless? Or maybe the writer means the instrument has no keys? Can that be called “ventless” … or “ventiless”?

I read it here, so maybe the writer will even see this and fill me in.

08. May 2010 · Comments Off on MQOD · Categories: Quotes

Opera is as it is because we fundamentally
crave romance. We want plumes
and velvet somewhere in our lives.

-Mary Fitch Watkins

(I read it here.)