There is too much to say about this work. It is a towering achievement, evidenced in part by how completely this approach to directing has pervaded opera culture.
These productions are worth revisiting both as artifacts of a particular moment in operatic history and as exemplars of craft and dedication. They are so detailed and so intentional, even in the moments where they don’t quite click conceptually.
In my observation, staging Mozart is so much about what you do moment to moment, second to second. How you handle the repetitions, the suspended emotional moments, the abstract musical ensembles. The concept or frame is important, but no matter where the production is set, you still have to contend with the musical forms that defines its shape.
There are also so many bad versions of this approach in the world. Just as people photocopy Zeffirelli, directors photocopy Sellars, Chéreau and Neuenfels without understanding what is happening under the surface. That happens whenever imaginative artists open up new aesthetic possibilities for an art form.
I love these productions for their casting and ensemble core, for Sellars’s collaboration with Craig Smith and his extraordinary creative team, and because there is an idea behind every second. Even when I think the ideas don’t work, I admire the rigor of the execution.
Creatively, these productions were the collective effort of a longstanding group of collaborators including Craig Smith, Adrianne Lobel, George Tsypin, Dunya Ramicova, James F. Ingalls and Mark Morris.
Also, this video was originally 11 minutes. Three minutes is way too fast to discuss these works. @david.j.levin ‘s Unsettling Opera is a wonderful resource for going much deeper.
The complete productions are available on YouTube. Links and full cast information in the comments. #classicalmusic #art #operasingersofinstagram #theatre #opera
a month agomichaelbeattie77
Pleasure to read this post. I was the rehearsal pianist for all three of these productions back in the 80s and watching PS put these together from scratch was one of the most exhilarating experiences of my entire career. Peter read from the full score and knew every corner of these pieces as well as anyone in the room. It always made me smile when people said “he just doesn’t know or respect the piece”. Not. True. Thanks again for sharing your thoughts about these iconic productions.
a month agoleylbren72
It seems like the current Met production of Cosi set in 1950’s Coney Island would not have been born without the genius of Sellars. It takes many of its set design cues and vibes from his production.
a month agopcosentino9
My mentor and good friend James Patterson was, as you have listed, the Commendatore in this production of Dan Giovanni. Knowing he had been cast in something quite special, he insisted I fly out to New York from California to see these three productions. And of course, I did. They were phenomenal. Would love to speak with you about them someday if you’re interested.
a month agobettina_falkenberg_eft_therapy
I wish I had seen those. Reminds me a little of Jonathan Miller's legendary Rigoletto. Thank you for sharing
a month agojonnyshef
I love your feed. Right up my alley. I conducted several such shows when I led Eos on NY, many directed by Chris Alden, especially our reduced Rheingold and Walküre. You express well the possibilities and the rationale of updating.
2 months agothereal_sallywhitwellmusic
I always look at all these productions of the canon and think to myself, wow, that’s a really expensive way to avoid supporting the composers of today
2 months agocamille.kietzman
I love the idea of there being something transcendent in every moment of ordinary life. That will stick with me, even though I love a staging with lavish historical costumes.
2 months agoramonbriones18
Thank you for reporting on these productions. I feel updated in the developing history of this art form i have loved since the late Klara Barlow mesmerized me into its fascinating possibilities back in the late 70’s
2 months agogwailoangmo
I’ve never got on with Don Giovanni as an opera, but I enjoy the comedy of Così and Figaro. My first Cherubino was von Stade (Glyndebourne with Cotrubas and Te Kanawa) and she’s my benchmark, but Sellar’s idea of a sporty was brilliantly imagined and executed, so that is my Cherubino.2. The rest of the opera sticks to its logic and raises the comedy. A cut down travelling Così (no chorus, no orchestra just the theatre’s grotty upright piano) was my first opera. Sellars plays up the comedy of how the two girls don’t recognise the two boys is delightful. The sword fight with cutlery still makes me chuckle. Così has a moral which seems to work well the more ridiculous the preceding has been. I would recommend this trilogy from Sellars without hesitation. Why aren’t there more available?
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