Kentridge: “Are both a credible nose?”

thenoseII“We knew we wanted the nose dancing and we had the footage of Anna Pavlova. But in the film she is a white figure against a black background,” Kentridge said, explaining the difficulties of creating the best effect for projection. “We inverted the image so she becomes a negative, a dark figure against a white background. We animated that with the nose on top of her, and then re-inverted the image.” Via The Metropolitan Opera, read more

Maestro Muti in Attila Rehearsals

mutiMaestro Riccardo Muti lightly raised his baton and then paused. “I know I am supposed to say I am very happy to be here, but it is true—I am very happy to be here.” Then he began leading the orchestra through the Attila prelude. Occasionally he stopped, injecting quick direction: “Don’t delay.” “It’s a bit faster.” “Now! Fortissimo! Boom!” Via The Metropolitan Opera, read more

Of Tosca, Change and Booing

booSpeakers deliberated on the phenomenon of the boo, even demonstrating and analyzing the acoustic carrying power of the word itself … a sign of passion preferable to quiet muttering. “[It’s] a good thing that’s creating a conversation about the nature of what we’re doing,” [Bartlett Sher] Via The Metropolitan Opera, read more