http://db-staatsoper.die-antwort.eu/

I’m enjoying the search-by-role option…

http://tinyurl.com/7typ3yk

Just curious about matters of dress. Reckon there was a lot of work involved managing and keeping up their toilettes.

Three ladies were discussing the travails of getting older. One said,
“Sometimes I catch myself with a jar of mayonnaise in my hand, while
standing in front of the refrigerator, and I can’t remember whether I need
to put it away, or start making a sandwich.”

The second lady chimed in with, “Yes, sometimes I find myself on the landing
of the stairs and can’t remember whether I was on my way up or on my way
down.”

The third one responded, ” Well, ladies, I’m glad I don’t have that problem.
Knock on wood,” as she rapped her knuckles on the table, and then said,
“That must be the door, I’ll get it!”

The very origins of Greek comedy are in phallic rituals. I think a “tit” joke is perfectly appropriate at the end of Siegfried and a healthy reminder of the biological imperatives which underscore the happy endings of comedy. (Strictly speaking, Siegfried doesn’t really seem like a comedy – it’s more of a generically unique Bildungsromanoper. But it’s got some comic traits to it.)

Perhaps what irks in Mr. Woolfe’s comment is the impression that he is making a generalization about a population — or a segment thereof — from one performance. I was at the opening night performance and, although I cannot recall the audience reaction to the Nozze snippets (and, honestly, in the grand scheme of dramatic arc and such, I am perplexed why a critic would hone in on that fleeting passage to make such a controversial point), there was plenty of audience reaction throughout the entire evening. I admit that Mr. Woolfe did not say “casting pearls before swine” (perhaps the implication could be excavated with scant effort?), but let me preemptively make it clear that there were not 2000+ piggies in Walt Disney Hall that evening. It was an engaged, perfumed audience.

And, finally, what does any of this have to do with writing a review of an opera performance? We are interested in the critic’s perspective, irrespective of whether or not she/he was in sync with the audience.

(Yes, I was born and raised in Los Angeles and I am defending my people.)

Not being snarky, genuinely interested.”

Well of course it does depend on the performance, but yes, they do make me laugh if they are done well.
Also Handel’s Serse and Partenope.
I know I am sort of atypical, or maybe weird, but that is the truth, but then you have to take into account that I think that Offenbach’s opera bouffes like La Belle Helene and the best of G&S like Ruddigore are just about the funniest things in the world.

Von Stade was a funny Despina-Doctor in SFO, helped by a few good sight gags (including a big weird electro-whatzis machine and a terrifying hypodermic she could brandish).

Michael Sumuel made the most of his drag turn as Elviro in Xerxes last season. Steven Cole as Flute in the Pyramus & Thisbe part of Midsummer Night’s Dream was one of the funniest things I’ve ever seen anywhere. I thought Keenlyside had some very funny moments of physical comedy as Papageno in the McVicar production. I rather liked the tangled-limbs trio in the Met’s Comte Ory, and Michel Sénéchal could be a scream when he wanted to be. Pelly’s Offenbach is often a delight.

Just to list a few.

I’d agree that opera doesn’t do laughs all that well in practice, but I think that’s often more a matter of weak direction or acting than a shortcoming inherent in the form.

http://tinyurl.com/7fdwn9j

WOTAN: “Take my wife- PLEASE!”

WALTRAUTE: “Just flew in from Valhalla– boy are my wings tired…”

GURNEMANZ to Esquires: “Three Jews walked into a bar…”