Tag Archive: New York City Opera

New York City Opera Renaissance Gala Tribute to the Late Julius Rudel and Fundraiser

Julius Rudel (Vienna 1921 - New York 2014)

The demise of New York’s beloved City Opera seemed sudden and bizarre—and so painful to opera lovers in the City, that many lost sight of what a long process it was. The board’s bad decisions went back around a decade. The company’s deficits climbed, and its endowment was repeatedly raided. There was time to change things, and the warning signals were unmistakable. The late Gérard Mortier’s innovative spirit and visibility may have been an asset, but he was hardly famed for his thrift. In the end they couldn’t afford even to get him started. When the NYCO couldn’t meet the budget they had agreed to offer him, he backed out. His replacement, George Steel, had similar artistic inclinations.

Anna Nicole Blows Brooklyn! New York City Opera Production of Turnage Opera at BAM

Sarah Joy Miller and Chorus in Anna Nicole. Photo Stephanie Berger.

By now the word is that Anna Nicole, by Mark-Antony Turnage and librettist Richard Thomas, is likely to be the New York City Opera’s last production. If the City Opera is dying, it is going out magnificently, with its greatly reduced season setting a model for opera houses in the US and around the world. The 2013-14 season, if it takes place, includes the important contemporary opera discussed here, a 2011 commission by the Royal Opera House at Covent Garden, followed by a long-forgotten setting of Metastasio’s Endimione by Johann Christian Bach, a staged performance of Bartók’s Bluebeard’s Castle, and finally one staple of the standard operatic repertory, Mozart’s Marriage of Figaro, the final instalment in Christopher Alden’s innovative staging of the three Mozart-Da Ponte operas. The schedule is small, but every opera has a vital reason to be in it.

The New York City Opera powders her face once again.

The Notorious Scene according to Scheib in Powder Her Face. Photo © Carol Rosegg.

Thomas Adès’ Powder her Face is now almost twenty years old, and the composer, now 42, has only strengthened his spell on audiences, organizers, and musicians. We have grown accustomed to trusting Mr. Adès to deliver works that are not only cleverly and soundly constructed, but also emotionally absorbing and rewarding in a way representative of the representative trends in music today. My neighbor at BAM warned me that this would not be The Tempest and that I should not expect to find maturity in the opera. Adès was in fact 24 when Powder her Face received its premiere at the Cheltenham Festival. As I looked and listened, the opera seemed a model of precocious maturity in comparison with the Pythonesque production it received from Jay Scheib, who is in fact Adès’ senior by two years.

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