Weekend 9-30-12

Well! Persistence has paid off. Or rather, not so much persistence as waiting a few weeks and then calling the Walt Disney Hall box office again. But however you characterize the process, I have secured tickets for two of those performances of Le Nozze di Figaro in Los Angeles. I feel a little bit embarrassed, but on the other hand, I have tickets now. Not great tickets, but tickets nevertheless. After I bought them, the guy on the phone asked the rote question about how did you find out about this concert? I said something vague like “the internet” or something like that. And we were done.

But it caused me to pause and consider the internal form that the people in the box office might fill out and file away when they ask patrons this question. Not the boring one, that just has the typical “our website” / “other website” / “I’m on the mailing list” / “advertisement in Teen Vogue” or whatever. The real one.

“How did you find out about this concert?” (n.b. if patron’s answer is ‘other’ check the box re: RF – we know this is happening but no one admits it)

[] Los Angeles Philharmonic Website
[] Facebook
[] Twitter
[] disturbance in the Force
[] hunch / dumb luck / wrong number (n.b. if patron is attempting to reach the Walnut St. Jiffy Lube in Pasadena, tell them check area code carefully; management aware of problem; Lou & Vinny at Jiffy Lube also aware of problem)
[] obsessive opera fan – knew about concert months before organizers of concert
a) may be dangerous
b) probably not dangerous
[] Craigslist
[] fortune cookie
[] other cookie (please elaborate)
[] voices in head
[] flier in the mail
[] flier on front window of car
[] was going through Renée Fleming’s trash and found flier
[] word of mouth

10 thoughts on “Weekend 9-30-12

  1. Maltman and Roschmann terriific but I wonder about the rest (not the cast can’t actually raise that on the web site). An architect and a couturier as the design team? Everything I’ve seen out of LA Opera has played so safe as to to make the Met look positively revolutionary. They managed to make an inoffensive Mahagonny which is a truly world class achievement! And Figaro? How do you get subversive about wealth and class in LA. As I said they couldn’t do it with Weill, what hope for Mozart?

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    1. I wonder about that too – I’m definitely not expecting hard core Regie in terms of the production. I imagine it’ll be pretty tame conceptually, or at least if it isn’t I’ll be happily surprised. However, if I get to hear Röschmann as the countess (and Maltman is definitely a draw too) I am willing to put up with some conceptual tameness.

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        1. They’ve got a production designer and costume person listed, so it doesn’t look like a concert version. But given that it’s at Disney Hall (I’ve never been there, but that’s a concert hall, not an opera house, right?) I’m wondering if it’s going to be semi-staged, or simpler than normal in some way.

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          1. ja it’s a concert hall, so sounds like semi-staging, which i atually quite like a lot, mainly because you also get to see the orchestra, and the interactions b/t it and the singers are always a treat to watch/listen

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            1. i sat there once, almost directly behind and just slightly above chorus, FANTASTIC sound! and if semi-staging, then more hopes DR will turn around and sing to you (instead of facing only out in static concert setting 🙂 )

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