Entrevista a Gil Rose de la Odyssey Opera, compañía de la que hablo con frecuencia por sus muy interesantes temporadas (este fin de semana toca Pacini).
https://parterre.com/2019/10/29/the-long-listen/Citar:
I try to find audiences for works that don’t have them, to explore operas that were important or valuable but hadn’t been heard recently, if at all. At the same time I wanted to create a hook that would bring people in.” Thus the “thematic” choice of repertory.
[...]
The thing about cuts—you can always tell who’s at the top of the organizational triangle—is it the composer? The director? The artistic director? Someone has to give me a reason for the cut, whether it’s vocally taxing or there’s an awkward scene change—there has to be some reason to cut. But the standard has become the opposite: ‘What’s the reason to keep this music in? It’s normally cut, isn’t it?’ And I’m: Ye-es, but I’m not about to second-guess Mozart or Verdi on what works in the theater. If they wanted it performed, they had their reasons
Y una reflexión sobre el SCR:
Citar:
If they’ve become used to the same menu over and over again, you can’t blame them for wanting the same menu over and over—you’ve self-selected the people who will want that. It’s a bad cycle; it’s a downward-spinning cycle.