Netrebko is the pivot of new Bolshoi-Met deal
mainpress release:
Moscow – New York, (October 9, 2017) In their first co-production collaboration ever, the Bolshoi and the Met announced plans today to jointly create new productions of Aida, Salome, and Lohengrin, with performances to take place in New York and Moscow between 2019 and 2022. The two companies will pool their creative and technical resources to develop and build the new productions, with the Bolshoi performing the productions at their theater in Moscow and the Met performing them in New York.
Although complete casting and creative teams are not ready to be announced, Aida will be staged by Tony Award winning American director Michael Mayer, Salome will be staged by the highly regarded German director Claus Guth, and Lohengrin will be staged by the English director, Phelim McDermott, whose acclaimed production of Philip Glass’ Satyagraha played at the Met in 2011. Russia’s leading soprano, Anna Netrebko, will perform in all three operas, both at the Bolshoi and at the Met, singing the title roles in Aidaand Salome, and the role of Elsa in Lohengrin.
Yannick Nezet Seguin, who will become the Met’s Music Director with the beginning of the 2020/21 season, will conduct the initial Met performances of each production in New York, and Tugan Sokhiev, chief conductor of the Bolshoi, will conduct Salome and Aida in Moscow.
Although the Met and the Bolshoi have never worked before as co-producers, there is a long history of Bolshoi performances at the Met, dating back to 1959 when the Bolshoi Ballet performed at the Met for the first time. The Met has not performed in Russia.
Vladimir Urin, General Director of Bolshoi Theatre said: “I am incredibly pleased that our new relationship, which has been in discussion for a year now, will happen and will result in several opera masterpieces appearing in New York and in Moscow. To collaborate with this great theatre has been a longtime dream.”
Peter Gelb, General Manager of the Metropolitan Opera said: “We’re very pleased to be partnering with
such a renowned company as the Bolshoi and to be pooling our resources with them.”
Negotiations for the new co-production arrangement began in the summer of 2016 when Urin and Gelb met for the first time at a meeting arranged by John Berry CBE, an advisor to the Bolshoi and former chief of the English National Opera. Irina Chernomourova, the head of the long-term planning department of the Bolshoi, will be responsible for implementing the project for the Russian company.
Salome…she will dance?
Does she know that Elsa and Salome need German linguage?
Exactly. But the mysoginist queens (gay and straight) who support her tone-deaf wobble-fest no longer care for words or language proficiency. They only care for affirmation of their notions of femalehood and Netrebko is happy to comply. They used to bitch and moan to paroxysms about superior and more interesting artists, especially female ones who did not play their game.
Another question I have is: Why the duplicate post on this site? Isn’t once enough?
Because their admin only knows the button to delete the posts of commenters.
Why don’t the French complain about the rampant abuse of their language? Did they give up? They don’t care? Russians don’t complain either about the terrible mutilation visited upon Russian operas by singers who learn the roles phonetically.
German people are serious. They don’t tolerate half-baked stuffs. That’s why they are so awesome.
Be quiet – she has already sung Elsa in Dresden. And he lives / lived mainly in Vienna, so Deutsch is familiar to her enough. Yes, there is an accent. But there are the consultants, couches, fiends etc.
Her Elsa lines had to be tele-prompted in Dresden so she could participate. It was the only way forward. Ask Thielemann.
Haven’t you heard of Parallelgesellschaft?
Nowadays, you don’t have to speak a single word of Deutsch in order to be a German citizen and live in Germany. It’s the same in Austria.
One can only hope that Claus Guth doesn’t repeat his ridiculous Berlin Salome.
The Salome in Berlin was the best. Loved it!
The cynic in me would say that this is another low for the Met, but this is really bottom-low. Seriously, cooperate with 5th grade companies?
A few years ago I suffered through 5th rate orchestral playing and 4th rate singing when the Bolshoi troupe came to Lincoln Center. It was an opera by Rimsky-Korsakov, The Tsar’s Bride if I am not mistaken. Fortunately something saved the day: the marvelous conducting of Gennady Rozhdestvensky.
So the orchestra was playing 5th rate, but the conductor was marvelous? You mean he looked good while being in charge of making that orchestra sound 5th rate? Or was he conducting in another room in front of a mirror?
there must be a lot of money to spend there + luxury historical interiors of the Bolshoi + luxury Bolshoi orchestra and chorus 😉 yay
P.S. exclusively for Mr. Monster – my favourite prodigy is ready to make her debut at the Boston Lyrics and everyone is excited there now – hurry up to Boston and good luck 😉
Elena Stikhina *is* Tosca!
yes 😉
Boston Lyric is a tired, third rate provincial company. Still, I look forward to reading about Stikhina’s Tosca. Even better, to hear anything that may surface on YT if we are lucky. Wishing prodigy much success!
thank you for your wishes, now you can hear an excerpt from her “Vissi d’arte” rehearsal if you look at BLO Facebook page, as for the youtube you mentioned – it’s up to Boston to film it 😉
P.S. Of course I never thought about BLO ( and of the Bolshoi ) as a third rate or something in a way – tastes differ ….