queer ) a boy and his diva ^ adriana lecouvreur 1 we hE that... ! stiffelio I prends garde I the phantom of ` opera is queer f a boy and his diva ) adriana lecouvr we hear that... I stiff o I prends garde 1 + phantom of the opera is 1 a boy and his divz adriana lecouvreur ! we hea . ) stiffelio 1 prei garde t the phantom of the o queer ? a boy and " diva ! adriana lecouvreur hat ) stiffelio prends garde ) the phantom queer 1 a k and his diva ! adriana r that... stiffelio I prends he opera queer I a boy and `-,^ ! we he that ... ) stiff om of t opera is queer couvre ) we hear the 1 phantom of th Perhaps a bullet or two should be reserved for We ^uliil` > . Robert LaFosse and Lesley Koenig for his xeroxof- a-xeroxof-Bolonchine choreography and her ^.. thQ[...^ clueless staging. Should the Judgement of Pa's ballet really be camped that way? Would a dancer of the period really dare give the Princess of Bouillon such attitude (look what happened to Dolora Zajiek will take a one-year sabbati- La Lecouvreur, the biggest star of the time)? Did ,gs^ cal from her burgeoning opera career to actors at the Comedie Francoise really swish "She was like a schoolgirl around tour in Gertrude Stein, Gertrude Stein, around behind feather fans and throw laundry at him. One with a terrible crush," says V^ Gertrude Stein. Break a leg , Dolora! the' stage manager? And if a director Insists on Franco Zeffirelli. He's talking about altering the fradd'bnal business in an opera, Maria Callas , of course. That's who (to Zeffirelli, anyway. Peter Sellars will bring his production of shouldn' t the reason be an attempt to heighten "she" means the drama, rather than, as was apparently the To Michael Musto, "She " - meansi Haydn's 11 mondo dells tuna to BAM later Madonna. Chacun a son diva) But who, this year. The aging wunderkind has, as case here, an inability to read stage directions in Itaion? is this "him"? Aristotle Onassis? usual , revised the libretto, setting the opera Giovanni Battista Meneghini? Franco$ Adriano has a lot in common with Les Liaisons on the Earth. corelli? Rudolph Bing? No, no, no,= dangereuses- and a staging in that mode might and are you kidding? shut up once and for all those whiners who stir 'Tbe Melee in Mycenae" is how Don turn up thee noses at this show, lt only the Met King bills his pay-per-view showing of would lose the' "Mikey-he' i-eat-anything" attitude Elektra starring Gveyaeth Jones and toward the audience. Maurizio, we know, was a Leonie Rysanek . According to the gigolo who paid for his invasion of Poland by controversial boxing promoter, "Gwyn and turning tricks. The Princess and La Duclos, accord- Leni are the only real heavyweights left." in g to some sources, were much more than just close friends . And, as you can read elsewhere in Parterre Box , Michael. Michonne t is more Thelma Ritter an autobiographical "popera" than Gay Me". with music and lyrics by Michael s almof Jackson, will open the Metropolitan Opera's 1997-98 season. The title part is at yet uncast, but Kathleen Battle has SWefo (3/9) suffers from the "Crying Game been chosen to sing the cameo role of syndrome"- the reviews and word-of-mouth have rge Lc "LaToya." James Levine, currently the built up audience expectations to the point that Met's Artistic Director, says, "Michael's a disappointment is inevitable. Let's face it- the great piece. We're both really excited shows no Traviata, or as Dan O'Herihy says in l I Th( about doing it." Irritation of life, it's "d high ideals and low heels." But the Giancarlo Del Monaco production is Verwe.ndler du! handsome and moving-- would that the Met's cheezoid Trovatore looked one-quarter as goodl lJ C Ariadne out Naxos is about... yes" Sharon Sweet is a puzzlement- she wields a The dangers of producing an opera large, exciting sound with temperament but little with grant money? No, but thanks for musical imagination. Her face and hands are answer is "Ariadne playing. The right e beautifully expressive- why not her voice? is about transformation." (And for c Vladimir Chernov, on the other hand, creates flair the bonus points, Bobv Dick is about and rhythmic excitement through the aggresive this whale.) Yeah, so? Ariadne thinks use of a Figaro-sized instrument. I look forward to she's dying, see. But she's really AdIddno Lecouwm,r (3/7), 1 am shocked o say, hearing him in Balo (another show that could coming back to life, just did not sell out, the way, say, a mediocre profit from the Del Monaco touch). transformed, that's all: not a woman SohPme does. And the tragedy is that Mie#a any more, but a... goddess. Or "diva" Freni is still damned good. No, I don't care for her as they say in Milan. What a miracle pushing so hard at F and G at the top of the that is. It takes a "transformer" to staff, but in general the tone is still sweet and turn a woman into a diva. (Another almost as warm as thirty years ago. She looks an It's Luchino Visconti, that's who, function of a transformer is to attractive forty, and is still charming in that sightly tie man who taught Callas how to move convert AC to DC and vice versa. But goofy way we of love. She lacks only the whip- on stage, who directed her in her let's not go too far afield.) greatest triumphs: Sonnambula, crack temperament Adriona must have ( you feel Anna Traviata, Vestale, Iphi4enie, See, nobody in the prologue cares she'd leave the Princess's party quietly to avoid a create her, scene): that's where Scotto was superb. Act 4 ^olena ; He didn 't exactly about the Tenor or Harlekin. They're was Freni's long suit; "Poveri fiow was more thon NON-LUBRICkeED $ tut he did the last couple of revi- on their own. But walk into that sions. Visconti is a good catch, greenroom in a skirt and the "trans- the usual three minutes of self-Pity as despair distinguished, aristocratic, gave way to resignation. She is a precious artist; too... formers" are as thick as flies. And a charming. And the Zef is right. On bunch of queer ducks they are too. don't wait until she's gone to appreciate her. this kinescope of a French talk show, I haven't done the research, but it seems Ike (late 601s, to judge by La Divina's The relationship between the Music Freni and Sherrill Mines must have shared the Yairdo) Callas is relaxed, giggly, stage Master and the composer could best be of the Old Met their debut year. In edorable for once. She' s Maria. She described as "Socratic," even though Boheme, maybe, or Foust? Anyway, after almost interrupts his you-had-to-be-there neither one of them is a philoso_phe thirty seasons the big guy just keeps raging along; Story ("They were throwing vegetables I swear he sounds better now than ten yeas ago. et Maria..." "Radishes and celery!") And he's a mellower, more giving performer, too, exactly as if they were the Burtons. which means he has few rivals and no equals. whey're delightful together. A For the rest. Stefania Toczyska was generous of I , perfect match. A fun couple. And voice and feline of movement-- and baking Ike R Visconti is gayer than I am. the young Anouk Aimee doesn't hurt. Luis Lima is r ednly cute, but his voice and his acting are y about equally constricted. Of the supporting singers, let me single out Yvonne Gonzales and simply say she should be shot. www.parterre.com Y prends garde a toi -1 ^ tfi Casta Diva I was talking to a trbsgay chorister who performed under the baton (ae Then again , the kid is at lead e-ep they say) of a noted conductor who is ("She is the Symbol of Mankind in its married to one of the century's Isolation ", he offers the Prima Donna greatest sopranos . He told me the by way of direction . Yes, of course, maestro always travels with his boy- but would you mind giving me some- friend , even when the diva stays thing I can Play ?) The Music Master home . The chorister was pensive: "She has his hands full trying to contact wouldn't have become a star without: whatever planet his protegd's on, but his, of course , and I'm sure they, have great he too gets A chance to direct the affection for each other. But I feel Prima Donna . More wise in the ways sorry for her. He'll never: love h__ «.- ..--- - f the theater, he tratislates his Oman." criticism into her own charming native tongue, Divaspeak : "The con- trast between you and that tacky Zerbinetta will make you look even more wonderful than you do already." Well . She'd never looked at it that The Zerbinetta/Composer scene is usu- ally explicated as a sexual awakening and nothing else. Cho noia . " Onstage I mostly play comedy, but I'm much deeper than people realize. " That gets his dick hard ? More likely our little Amadeus clone is thinking, "The voice is tiny, but it carries. And she's been around the block. The contrast between that silvery sound and that know- ing face is so full of dramatic tension! And she can handle props, too.