On November 12th, and for one night only, Supreme Court Justice Ruth Bader Ginsburg will portray the Duchess of Krakenthorp in the Washington National Opera's production of "The Daughter of the Regiment."
Please note: this is not the Notorious RBG's first role in an opera! Also, while the Duchess does not sing she will bust loose with the funny.
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It's no cameo. According to the Washington National Opera, while this opera is "best known for its vocal acrobatics, the high-comedy antics" of the nonsinging duchess "often steal the show."
Indeed, for Ginsburg's one-night stand, the script has been altered. At one point, for example, after the duchess observes that the best leaders of the House of Krakenthorp have been "persons with open but not empty minds, individuals willing to listen and learn," she looks at the audience meaningfully, and asks, "Is it any wonder that the most valorous members ... have been women?"
She goes on to list the qualifications for admission to the House of Krakenthorp, some of which sound suspiciously like the qualifications for being a Supreme Court justice — i.e., "must possess the fortitude to undergo intense scrutiny," and have a "character beyond reproach."
The 83-year-old justice will join a long list of notables who have played the Duchess of Krakenthorp — among them comediennes Bea Arthur and Hermione Gingold and retiring opera stars like Kiri Te Kanawa and Montserrat Caballe.
Ginsburg has had a lifetime love affair with opera. She often lectures about the law in opera and has said that her one regret in life is that she could not be a real operatic diva.
I've never watched an opera before, but the new iOS game Magic Flute by Mozart makes me want to. Read the rest
For anyone who has raised children: sing along, you know the words. Read the rest
Timur Bekbosunov is an incredible performer, his work with the Dime Museum is not to be missed. This video stretches the imagination.
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Five scenes from "LSD: The Opera" performed at Los Angeles's REDCAT last month. It ain't over 'til Tim Leary sings? Read the rest
If Mozart had thought to populate The Abduction from The Seraglio with Vulcans and Klingons, he most certainly would have.
Instead, this adaptation was left to Josh Shaw, Artistic Director of the Pacific Opera Project (POP). Their production of The Abduction premiered at the Southern Illinois Music Festival, and had a short run in the Los Angeles area.
I did not get a chance to see it, but this review made me wish I had.
POP has translated that German “libretto,” or text, into English. And moved the harem to planet M113. And the Turkish Pasha? A Klingon Warlord. Don’t question it. The results are strangely glorious. And whether you are a rabid Star Trek fan or just versed enough to get by in pop culture, this zany and pitch-perfect opera triumphs in pure laugh-out-loud hilarity.
Opera is becoming harder and harder to sell, but the love for classic Star Trek is not dead. The production brings to mind the fan-made series Star Trek Continues, a fan-made passion project that feels to me like Waiting for Guffman in space; and another fan-made series, the even more impressive Star Trek Phase II, whose New Voyages is looking very snappy.
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A Dusseldorf production of Wagner's Tannhauser was cancelled this week
after the producer "refused to tone down the staging, set in a concentration camp during the Holocaust." [BBC] Read the rest
Why is a boutique web browser so popular in Europe's last dictactorship? Opera's maximalist, ultra-fast caching keeps bandwidth use down
when using crappy, metered internet. [The Atlantic] Read the rest
Video artist Netia Jones holds a 21st century-style Wild Rumpus in the LA Phil’s production of Oliver Knussen’s opera version of Maurice Sendak’s Where The Wild Things Are.
Philip Glass and the English National Opera will stage "The Perfect American," adapted from Peter Stephan Jungk's fictionalized account of Walt Disney's last months.
ENO to stage Philip Glass opera about the last days of Walt Disney
Glass – described by the ENO as “one of the world’s most important composers” – said the life of the man behind Mickey Mouse was “unimaginable, alarming and truly frightening”.
The story follows cartoonist Wilhelm Dantine, who worked for Disney in the 1950s. The production does not have the rights to use Disney’s most famous characters, but it is likely to find a way to reference them. Berry said: “Glass is very interested in the impact that a personality of that order has on wider culture.”
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djBC, the archduke of mashup, has created a video to accompany his 2005 "wemix" of the classic Chuck Jones 1957 Bugs Bunny cartoon "What's Opera, Doc?"
Whats Opera, Doc? (dj BC Wemix)
(Thanks, djBC!) Read the rest