Word: manon
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...chooses his approach. ``I am a different director in Europe from America,'' he says. Especially in Germany, land of state subsidies and a public that may have seen 50 versions of Figaro, he may go the experimental route. In Bonn in April, for instance, he will produce a Manon Lescaut inspired by the paintings of Edward Hopper. In the U.S., where opera must pay for itself, companies can rarely afford productions that may be one-year sensations. When Met general manager Joseph Volpe ordered up Butterfly, he wanted a show that could be admired for as long as its predecessor...
...chooses his approach. "I am a different director in Europe from America," he says. Especially in Germany, land of state subsidies and a public that may have seen 50 versions of Figaro, he may go the experimental route. In Bonn in April, for instance, he will produce a Manon Lescaut inspired by the paintings of Edward Hopper. In the U.S., where opera must pay for itself, companies can rarely afford productions that may be one-year sensations. When Met general manager Joseph Volpe ordered up Butterfly, he wanted a show that could be admired for as long as its predecessor...
...spotlight. The performance is presided over by a folksy/bitchy hostess, ``Miss Sylvia Bills,'' a Kewpie-doll look-alike of ``America's Most Beloved Retired Diva.'' She seats herself in an armchair, vodka bottle at the ready, and introduces the samplings from operatic war-horses. (Typical plot synopsis: ``Manon falls in love in 16 bars. Sounds like me after the show...
...Sulpice scene from Manon, a passionate encounter between lovers in a monastery, brings on the prima donna ``Vera Galupe-Borszkh,'' a.k.a. ``La Dementia.'' Wearing a colossal red fright wig and more lipstick than Lucille Ball, she commands the stage like Bette Midler on Benzedrine, casting her stratospheric soprano to the bleachers as it veers between ear-splitting fortissimos and never-ending pianissimos...
...Sepulce scene from Manon, a passionate encounter between lovers in a monastery, brings on the prima donna "Vera Galupe-Borszkh," a.k.a. "La Dementia." Wearing a colossal red fright wig and more lipstick than Lucille Ball, she commands the stage like Bette Midler on Benzedrine, casting her stratospheric soprano to the bleachers as it veers between ear-splitting fortissimos and never-ending pianissimos...