Opera, Glamour and Nudity at MET

(MET Opera New York )

I want to share with you this artikel of New York Times.
I don’t agree with all of it, but I think some of those opinions are important to understand our showbusiness.
I think the writer has forget historical issues and Literature’s affairs :

1. Opera is not only a vocal art form.
2. Opera has been Theatre since its beginnings, only in 17. Century it has been considered a vocal show.
3. Phisically characters : To perform a “vera Violeta” it should be a sexy one, because La Traviatta is the story of a beautiful woman, who lost her way….
( I strongly recommend you La Traviatta’s performance with Anna Netrebko and Rolando Villazón)


Thanks to Luis Spallarossa who sent me the news !


From New York Time on line,
Take It Off, Brünnhilde: On Opera and Nudity


By ANTHONY TOMMASINI
Published: September 17, 2008
Correction Appended

It had to happen. Nudity is coming to opera.

In recent years, with all the talk from general managers, stage directors and go-for-broke singers about making opera as dramatically visceral an art form as theater, film and modern dance, traditional boundaries of decorum have been broken. Opera productions have increasingly showcased risk-taking and good-looking singers in bold, sexy and explicit productions.

How explicit? On Tuesday the soprano Karita Mattila returns to the Metropolitan Opera to portray the title character in Strauss’s “Salome,” a revival of the modern-dress Jürgen Flimm production created for Ms. Mattila and introduced at the Met in 2004.

Ms. Mattila’s emotionally intense, vocally molten and psychologically exposed portrayal four years ago made her seem born to this daunting role. And yes, during her uninhibited and kinetically choreographed performance of the “Dance of the Seven Veils,” she shed item after item of a Marlene Dietrich-like white tuxedo costume until, in an exultant — and brief — final flourish, she twirled around half-crazed and totally naked. Expect the same this time.

On Sept. 7, for the Los Angeles Opera’s American premiere production of Howard Shore’s new opera “The Fly,” the young Canadian bass-baritone Daniel Okulitch bared all. During the crucial final scene in the first act of the opera — based mostly on the 1986 David Cronenberg film and directed by Mr. Cronenberg — the scientist Seth Brundle impulsively decides to use himself as a guinea pig in his invention, which molecularly breaks down a human body and transports it through space. Mr. Okulitch stripped naked, climbed into one brightly lighted telepod, closed the door, and moments later emerged from another telepod, facing the audience with his arms spread, looking transformed, a moment of radiant self-benediction. (There are two more performances, on Saturday and Sept. 27.)

It could be argued that since opera is theater, anything goes. Opera buffs have seen plenty of alluring sopranos in skimpy dresses and handsome bare-chested baritones. Is actual nakedness, if the dramatic situation justifies it, such a big leap?

Maybe not. Still, if opera ventures increasingly down this path, it will have to grapple with the same questions of relevance, gimmickiness and sensationalism that have dogged theater, film and dance.

Dance has broken this barrier the most boldly, which makes sense, since its instrument is the human body in all its beauty and expressivity. Yet choreographers have to be careful not to use naked dancers to inject an easy jolt of eroticism into a mediocre piece.

Nudity in theater has provoked a more contentious debate. There is no question that in many plays explicit nude scenes have been used to compensate for shallow writing or simply to lure people into seats. But when nudity seems called for and natural, it can lend disarming humanity to a drama.

There was, for example, Richard Greenberg’s “Take Me Out,” at the Public Theater in 2002, about a superstar baseball player who reveals that he is gay. The play could not have explored how the interpersonal dynamics of baseball’s locker-room culture are shaken by the star’s announcement without showing the players in the clubhouse showers.

But nudity in the theater can seem the most profound when the characters involved are vulnerable and unglamorous. A crucial, emotionally overpowering moment in Margaret Edson’s Pulitzer Prize-winning play “Wit,” first produced in 1995, comes when the actress playing the middle-aged main character, who is dying of cancer, exposes her gaunt, naked body.

Already in previews at the Broadhurst Theater on Broadway is Peter Shaffer’s “Equus,” a new production from London of the 1973 play. Naturally, fans of the young Daniel Radcliffe will be enticed by the chance to see him, our adorable Harry Potter, in the buff. But nudity is essential to this wrenching scene. A young boy and a young girl, nervous, insecure and full of confused attractions, strip in a stable and approach each other. When the deeply troubled boy cannot get aroused in full view of the horse he worships, he angrily chases the girl away and viciously blinds the horses with a hoof pick.

Though this may be a minority point of view, to me it seems easier to make nudity seem natural in the theater than on film. In a movie, what you see is completely controlled by the director. In sex scenes, the director teases you with glimpses of flesh, letting you see just so much and not more, or sometimes making you see more than you want too. But the viewer cannot help feeling manipulated.

There has been nudity in opera, of course, but mostly involving extras, supernumeraries or dancers. In 1998 the New York City Opera presented the choreographer and director Martha Clarke’s staging of Gluck’s “Orfeo ed Euridice,” a co-production with the English National Opera. During the blissful scene when Orfeo enters the Elysian Fields, an ensemble of captivating dancers appeared in all their naked splendor, portraying the heroes and heroines who inhabit this heavenly realm. But it is another matter to ask opera singers in leading roles to disrobe onstage, artists who, after all, have much else to do.

Here is where opera may soon court trouble if things get too cavalierly explicit. First and foremost, opera is a vocal art form. Never underestimate the visceral dramatic impact of fine singing. A great voice can be very sexy. Listen to Birgit Nilsson’s recording of “Salome.” For sheer sensual power, it’s hard to match Nilsson’s incandescent singing.

The question of exposing flesh in opera to make up for subpar music hovered over “The Fly.” At both its world premiere this summer in Paris and its recent production in Los Angeles, critics found Mr. Shore’s music ponderous and undistinguished. But most reviewers praised cast members for giving their all to the production, especially Mr. Okulitch, a sensitive singer and dynamic actor with a warm and appealing if modest-size voice. That he also has a handsome physique takes nothing away from the courage it took to strip bare for the telepod scene. If only the music had matched the moment. Still, the dramatic situation absolutely called for Brundle to be naked, and Mr. Okulitch complied.

But with Ms. Mattila in “Salome,” we have one of the major sopranos of our time singing an indisputably and persistently shocking early-20th-century opera. Going back to the story’s New Testament source, you could argue the text implies that to get her way with Herod, Salome indeed removed all her of veils. This was clearly Mr. Flimm’s idea, and his glamorous star was game. As I commented at the time, Ms. Mattila’s nudity may have taken less courage to bring off than the psychological nakedness she revealed in her mesmerizing portrayal.

On the other hand, one thing opera buffs have always valued about their beloved art form is that so many excellent opera singers look like everyday people, like us. There is no reason that Rodolfo and Mimi have to look like supermodels. They need only convey that they are beautiful to each other. The music, if sung with tenderness and passion, does the rest.

This article has been revised to reflect the following correction:

Correction: September 19, 2008
A music column on Thursday about nudity in opera, including Karita Mattila’s nude appearance in Richard Strauss’s “Salome,” misidentified the source of the story on which the opera is based. It is the New Testament, not the Hebrew Bible.

Metropolitan Opera House of New York in Buenos Aires

Foto : Anna Netrebko and Rolando Villazón

Metropolitan Opera House of New York in BUENOS AIRES
Where: Theater 25 de Mayo – VILLA URQUIZA - . Av. Triunvirato 4444.
When: Since the Sept. 22.
Admission: PLATEA: $ 80 . - $ 65 . - Super Pullman Pullman: $ 50.


Live broadcast from the United States of the season 2008 / 9 of Metropolitan Opera House of New York, at Centro Cultural 25 de Mayo.

This new initiative will allow fans to enjoy the best productons of the opera world, with the greatest singers and regisseurs of the moment.

In an exclusive agreement with the Metropolitan Opera House in New York TEATRO 25 DE MAYO (CCST) will transmit (via satellite) , live eleven functions of opera.

Discounts for seniors and students.


AGENDA

1. Monday September 22, 7 pm
GALA premiere of the 2008/2009 SEASON

2. Saturday October 11, 14hs.
SALOME-Richard Strauss
The soprano Karita Mattila presents his acclaimed interpretation of Salome along with Juha Uusitalo, Ildikó Komlósi, Kim Begley, Joseph Kaiser. Mikko Franck directs.

3. Saturday November 8, 16 h
DOCTOR ATOMIC - John Adams (MET Premier)
With Regio Penny Woolcock, is presented for the first time in the Metropolitan contemporary masterpiece that explores the historical moment of the creation of the atomic bomb. Gerald Finley in the role of Dr. J. Robert Oppenheimer and Sasha Cooke as his wife, Kitty, with Eric Owens and Richard Paul Fink. Alan Gilbert directs.

4. Saturday November 22, 16 h
Damnation OF THE FAUST - Hector Beriloz (New Production)
The premiere of the Met has the making of Robert Lepage, one of the most imaginative theatrical directors. Star Marcello Giordani as Faust, Susan Graham as Marguerite and John Relyea as Mephistopheles. Direction of James Levine.

5. Saturday December 20, 15 h
THAIS - Jules Massenet (New Production)
This is sensual opera starring the great soprano Renée Fleming in the role of the Egyptian courtesan in a production by John Cox. Jesus Lopez-Cobos directs.

6. Saturday January 10, 16 h
THE RONDINE - Giacomo Puccini (New Production)
Starring Angela Gheorghiu in the role of the heroine Magda who bets for the true love and Roberto Alagna in the role of Ruggero. With the theatrical direction of Nicolas Joel. Original production staged for the Théâtre du Capitole in Toulouse, and the Royal Opera House, Covent Garden. Directs Marco Armiliato.

7. Saturday January 24, 16 h
ORFEO ED Eurydice - Christoph Gluck
Reconnect the acclaimed production of Mark Morris, with costumes by Isaac Mizrahi. Stephanie Blythe is Orpheus and Danielle Niesen, his beloved wife who inspires the hero to face the “hades” for their salvation. James Levine directs.

8. Saturday February 7, 16 h
Lucia di Lammermoor - Gaetano Donizetti
Anna Netrebko stars in the fragile heroine of Donizetti for the first time in the MET and Rolando Villazon represents his lover, Edgardo. The production by Mary Zimmerman is the style of a Victorian ghost story. Directs Marco Armiliato.

9. Saturday March 7, 15 h
MADAME BUTTERFLY - Giacomo Puccini
Cristina Gallardo-Domas render the main role in this stunning production of Anthony Minghella, a classic repertoire of MET. With Marcello Giordani as Pinkerton. Patrick Summers directs.

10. Saturday March 21, 14 h
La Sonnambula - Vincenzo Bellini (New Production)
Mary Zimmerman’s production is moved to present times. With Natalie Dessay and Juan Diego Florez.

11. Saturday May 9, 1330 h
La Cenerentola - Gioachino Rossini
With Elina Garance as Cinderella in this masterpiece of “the bel canto” . Lawrence Brownlee as the Blue Prince and the baritone Alessandro Corbelli demonstrates his impeccable timing for humor. Directs Maurizio Benini.

Please to confirm the date and hour call in avant the 4524-7997.

Metropolitan Opera House of New York en Buenos Aires

FOTO : ESTELA KWIATKOWSKY

Metropolitan Opera House de New York
Dónde: Teatro 25 de mayo. Av. Triunvirato 4444.
Cuándo: Desde el 22 de septiembre.
Entrada: Platea: $ 80.- Pullman $ 65.- Súper Pullman: $ 50.


Transmisión en vivo desde Estados Unidos de la temporada 2008/9 en Alta Definición del Metropolitan Opera House de New York. En el CCCT 25 de Mayo.


La Subsecretaría de Gestión Cultural del Gobierno de la Ciudad Autónoma de Buenos Aires anuncia el lanzamiento de la temporada 2008/9 de Ópera en Directo desde el Metropolitan Opera House de New York, a realizarse en el Complejo Cultural Cine Teatro 25 de Mayo.

Esta novedosa iniciativa permitirá a los amantes de la ópera disfrutar en vivo y en directo de las mejores producciones de ópera del mundo, con los grandes cantantes y regisseurs del momento, en imágenes en alta definición.

En un convenio exclusivo con el Metropolitan Opera House de New York, el CCCT 25 de Mayo transmitirá en vivo y en directo desde esa ciudad once funciones de ópera.

La transmisión se realizará vía satélite con calidad de imagen de alta definición.

El CCCT 25 de Mayo es el único teatro de Sudamérica que se suma a la red de 800 teatros en 17 países que reciben en directo la temporada Live in HD del Metropolitan de NY.

El estreno será el 22 de septiembre a las 19, con la transmisión en directo de la Gala de Estreno, en la que participarán la soprano Renée Fleming y el tenor Ramón Vargas. (Ver debajo la programación completa.)

Descuentos para jubilados y estudiantes.


PROGRAMACION
1. Lunes 22 de Septiembre, 19 h
GALA DE ESTRENO DE LA TEMPORADA 2008/2009
Con la extraordinaria soprano Renée Fleming en una representación completa de escenas de tres óperas: La Traviata de Giuseppe Verdi (II Acto), Manon de Jules Massenet (III Acto), y la escena final de Capriccio de Richard Strauss. Tenor Ramón Vargas; barítonos Thomas Hampson y Dwayne Croft. Dirigen James Levine y Marco Armiliato y Patrick Summers.

2. Sábado 11 de Octubre, 14hs.
SALOME –Richard Strauss
La soprano Karita Mattila presenta nuevamente su aclamada interpretación de Salome incluyendo la inolvidable Danza de los Siete Velos, junto a Juha Uusitalo, Ildikó Komlósi, Kim Begley, Joseph Kaiser. Dirige Mikko Franck.

3. Sábado 8 de Noviembre, 16 h
DOCTOR ATOMIC – John Adams (MET Premier)
Con regie de Penny Woolcock, se presenta por primera vez en el Metropolitan la contemporánea obra maestra que explora el momento histórico de la creación de la bomba atómica. Gerald Finley en el papel de Dr. J. Robert Oppenheimer y Sasha Cooke como su esposa, Kitty, junto a Eric Owens y Richard Paul Fink. Dirige Alan Gilbert.

4. Sábado 22 de Noviembre, 16 h
LA DAMNATION DE FAUST – Héctor Beriloz (Nueva Producción)
Este estreno del Met cuenta con la puesta de Robert Lepage, uno de los más imaginativos directores teatrales. Protagonizan Marcello Giordani como Faust, Susan Graham como Marguerite y John Relyea como Méphistophélès. Dirección de James Levine.

5. Sábado 20 de Diciembre, 15 h
THAÏS – Jules Massenet (Nueva Producción)
Esta sensual ópera es protagonizada por la gran soprano Renée Fleming en el rol de la cortesana egipcia y Thomas Hampson como el demonio Atáñale, en una producción de John Cox. Dirige Jesús López-Cobos.

6. Sábado 10 de Enero, 16 h
LA RONDINE – Giacomo Puccini (Nueva Producción)
Protagonizada por Angela Gheorghiu en el rol de la heroína Magda que apuesta al verdadero amor y Roberto Alagna en el rol de Ruggero. Con la dirección escénica de Nicolas Joel. Producción original montada para el Théâtre du Capitole, de Toulouse, y el Royal Opera House, Covent Garden. Dirige Marco Armiliato.

7. Sábado 24 de Enero, 16 h
ORFEO ED EURIDICE – Christoph Gluck
Vuelve la aclamada producción de Mark Morris, con vestuario de Isaac Mizrahi. Stephanie Blythe es Orfeo y Danielle de Niese su adorada esposa que inspira al héroe a enfrentar el bajomundo para su salvación. Dirige James Levine.8.


Sábado 7 de Febrero, 16 h
LUCIA DI LAMMERMOOR – Gaetano Donizetti
Anna Netrebko protagoniza a la frágil heroína de Donizetti por primera vez en el MET y Rolando Villazón representa a su amante, Edgardo. La producción de Mary Zimmerman es al estilo de una historia de fantasmas victoriana. Dirige Marco Armiliato.

9. Sábado 7 de Marzo, 15 h
MADAME BUTTERFLY – Giacomo Puccini
Cristina Gallardo-Domâs vuelve a representar el rol principal en esta impactante producción de Anthony Minghella, un clásico del repertorio del MET. Con Marcello Giordani como Pinkerton. Dirige Patrick Summers.10.


Sábado 21 de Marzo, 14 h
LA SONNAMBULA – Vincenzo Bellini (Nueva Producción)
Mary Zimmerman presenta está producción con elementos duales de vigilia y somnoliencia en una puesta trasladada a tiempos presente. Con Natalie Dessay y Juan Diego Flórez. Dirección de Evelino Pidò.

11. Sábado 9 de Mayo, 13.30 h
LA CENERENTOLA – Gioachino Rossini
Con Elīna Garanča como Cenicienta en esta obra maestra del belle canto. Lawrence Brownlee como el Príncipe Azul y el barítono Alessandro Corbelli demuestra su impecable timing para el humor. Dirige Maurizio Benini.

ATENCIÓN: Los horarios pueden variar de acuerdo a las fechas de adopción de “horarios de verano” tanto en la ciudad de Nueva York como Buenos Aires, por lo tanto rogamos confirmar previamente a la fecha al 4524-7997