Opera Chic

Come To Where The Mahler Is

(Above: The Grand Hotel, Dobbiaco, Italy in the background, and an ode to Mahler's 'Das Lied Von Der Erde' in the foreground)

"...The room and the surroundings are beautiful, apart from the noise that keeps disturbing me. The farmers whisper and the window-panes tinkle; or they walk on tiptoe and shake the house. The two lively children babble all day: 'Bibi! Bibi!' (that’s their volapük and it means everything). The dog too makes me feel like a 'man among men' and keeps barking from dawn until the peasants turn in. I wake up with a start every quarter of an hour and think of those that are softly snoring. To hell: how nice the world would be if you had two jugers of land to enclose within a fence and rest alone inside..."

(An excerpt of a letter written from Gustav Mahler to his wife Alma from their house in the Italian Dolomites, June 24, 1909.)

After Opera Chic passed a relaxing Easter break, (breathing the intoxicatingly fresh Dolomiti air, sampling the ecstatic mountain food and dairy [Ristorante al Capriolo in Vodo di Cadore where much 2001 Hofstätter Yngram was imbibed, the Hotel Belvedere restaurant at Cima Sappada for the freshest food, and Latteria Tre Cime Dobbiaco for, well, everything else], taking in the sights [Titian’s birth house was pretty cool in Piazza Tiziano in Pieve di Cadore], and stocking-up on all the delectable foodstuff at La Bottega Di Sappada [polenta, dried funghi, cheese such as malga and latteria, etc]), I was ready to download all the awesome pictures and spin the yarn.

One of the adventures during the break brought me to the heart of “Mahler Country” ["Come To Where The Mahler Is"], to a town nestled in the hills of the Dolomites by the Austrian border, called Toblach (in German) / Dobbiaco (in Italian).

(Above: Runners to celebrate Mahler erected at the park of the Grand Hotel.)

During his brief run as Principal Conductor of NYC’s Metropolitan Opera (1908–1910), Gustav Mahler retreated to the small Italian-border town of Dobbiaco where he spent three of his summers in a sweet little house, before he passed away in the summer of 1911. It was there among the cows and the smoked wood that he composed Das Lied von der Erde, the Ninth Symphony, and the unfinished Tenth Symphony (ie, what many consider his best work).

(Welcome to the land that Mahler <3'd. This is the park at the front of the Grand Hotel, Dobbiaco, Italy.)

There are loads of letters that were written from the quaint house in Dobbiaco to both Bruno Walter and his wife Alma (one of which was posted above) that document the pastoral heaven and pure air that he enjoyed.

Throughout the town, there are monuments to the late Austrian composer. Streets, plaques and large halls boast his name, and most ostentatiously, the grounds of historic Grand Hotel is adorned with tributes, including a Cultural Center. Every summer, the town plays host to an annual summer festival, and awards The International Record Prize (where our own caro zio Norman Lebrecht has sat among the jurors, being a member of The Gustav Mahler Society). Sweet.

   

(Above: A plaque that commemorates Mahler's 'Das Lied Von Der Erde' at the Grand Hotel, Dobbiaco, Italy. Below is a close-up of Mahler's DLVDE, or, "Il Canto della Terra" in Italian.)

Italy, I freakin ♥ u plz nev4r leav meeeee!

Devia's Masterclass @ La Scala: Angela Gets Pwnd From 400 Miles Away

 

Tonight Opera Chic (wearing black & blue & masculine in deference to the new Campioni d'Italia: black Tod's ballerina shoes, black Costume National slacks, blue Gentry Comini blouse, black Miyake silky cotton jacket, red/white/emerald vintage Balenciaga silk scarf, Zenitissimo vintage watch, and swag in my vintage midollino Gucci black bag) has witnessed an event of extraordinary importance...a magic trick: Rome's unlucky Violetta, Angela Gheorghiu, has been srsly long-distance pwz0rd by Mariella Devia.

Devia's recital tonight at Teato alla Scala, until the last aria, had been a textbook case of jarring contrast: the frumpiest, lamest style (circa 1988 long red silk junior prom dress with sheer red sleeves like a figure-sk8ing outfit, bad reddish dye-job ...and no costume change during intermission omg), and very limited acting, almost constant stiff delivery, back-brace posture but with the cleanest, most flawless singing one is likely to hear in any opera house in this decade.

The decidedly uncharismatic Devia sang as if her sound had already been equalized, corrected, and digitally cleaned-up & amped in a studio: her delivery was so inhumanly flawless that, closing your eyes, you'd think that somebody had turned on the sound system and the lady (accompanied by a pretty plodding, uninspired pianist, Ms. Rosetta Cucchi) was just lip-synching.

It was a master class for the public, an overt "hay guys *this* is how you're supposed to sing opera" moment that would put most singers to shame  -- a singing lesson for contemporaries and, if anybody had the good sense to record this evening, for posterity.

Somewhat cold? Yeah, the way a Kubrick film can be cold -- the coldness of the "I'm so good at this I can do it blindfolded" master, or, in Devia's case, "I can do it with a bad case of laryngitis like what3vs".

After she tore through Rossini's Pensées Musicales as if they were a stick of half-melted buttah, she then proceeded to kill the second part of the recital as if simply singing the notes was the easiest thing in the world, without breaking a sweat or flashing a nervous smile. She enjoyed the monster ovation from the crowd, and it was the time for encores (keep in mind, she's been singing for almost one hour and 45 minutes at this point).

The piano lady (which btw, OC thinks is pretty kicka$$ to have female accompaniment...especially dressed in "screw-u-&-ur-dresscode" slack,s nonetheless) started playing a bare-bones Casta Diva, and you're like, no frkking way, kip, back it up. But it's on!! and Devia blows-up that soprano-killing-aria like it's a videogame and she's playing the L4MER level just for practice.

More cheering, clapping, people going insane, bis bis bis, elderly gentlemen yelling until they dropped their programs, society ladies clapping so hard the many pounds of gold and (blood) diamonds they're wearing around their wrists and their malnourished bones clash like bells.

And then -- around 10:15 pm Milan time -- Devia, who must have read lately how Opera di Roma has been selling Gheorghiu's Traviata as if the twin fighting ghosts of Callas and Tebaldi have been finally put to rest -- decided to send Angela a little txt message, something like, "cara angela listen 2 h0w violetta is s'posed 2 sound kthxbi xoxoxo to roburto".

So she starts "Addio del passato", and she (after almost two hours of singing) starts acting, and even if the pianist is plodding like mad, she attaches little pieces of lead to every note so that Verdi becomes Black Sabbath slowed down 10x and played backwards to try to evoke Satan or Rene Pape or something, and now she's acting, and she's getting all emo on us, and she's dying alone on that stage, it's almost unbearable -- Non croce col nome che copra quest'ossa -- and it becomes clear once again (like it does only when the very best ones are on the stage) Verdi is Shakespeare, inventor of the human, and you're all like, holy f4ck, Gheorghiu has been pwnd. Once again.

Angela -- the most hyped soprano in the last 20 years with the exception of younger, prettier (not necessarily more talented) Netrebko got served, twice in three days; first, live on-stage by a 71-year-old gramps who's as spent as William Holden in the last five minutes of The Wild Bunch. Then, 400 miles away, by a frumpster whose sublime technique and gilded voice managed to make a Steinway concert grand sound in comparison like the most garish, discordant instrument evar, and leaves the La Scala audience clamoring for encore after encore, which Devia gladly delivered.

Devia @ La Scala

Opera Chic, still severely hungover after the soccer-related Bacchanalia, is stumbling to la Scala for the Mariella Devia recital.

Review and photos later tonight.

(OC seriously considered showing up in her Internazionale jersey, but she won't. You know, dress codes and all that).

A Rapidshare of a 1987 Devia recital with an eerily similar program is here

The Night Of The Scudetto

(photo courtesy of the Italian Champions of via inter.it, all others are Opera Chic's)

A night of insanity: black and blue flags and fire and smoke and broken bottles and insane feuertrunken nerazzurri illegally climbing up the Duomo to wave the Inter flag from the turrets high up in the sky over Milan; and the double-decker bus with the team just back from Siena enjoying a crazy parade in the streets of downtown Milan. Ah, the sweet, sweet smell of victory.

**~~vvvvvvvvv UPDATE vvvvvvvvvvvv~~**

Here's a link to the 24-image set "Internazionale FC Wins Italian Championship" that OC took from the fray.

Abbado: Bach in Venice

Every time Claudio Abbado conducts, it's a great joy for music lovers.

The maestro will appear tomorrow night at Venice's teatro La Fenice conducting Bach's Brandenburg Concerts with his Mozart youth orchestra (.pdf file here).

Siena 1- Inter 2 : Scudetto!

Internazionale FC, Opera Chic's adorati nerazzurri, win their 15th Italian Championship.

(reported here because it's a team of opera fans, obviously)

Yuri Temirkanov's Traviata in Parma

OMGOMG Corriere della Sera reports today that Maestro Yuri Temirkanov, aka our sweet Uncle Solly, will conduct Traviata next October at Parma's Verdi Festival!!!!!!!!!!!

Opera Chic will go to the premiere & then get a hotel room at her nice Locanda del Lupo in nearby Soragna for a week, and catch every single replica.

And since la Scala is looking for a Music Director: ALL TEH POWAH TO UNCLE SOL

Some Guys Get All The Encores, Some Girls Just Don't: Bruson vs Gheorghiu

After Opera di Roma's historical Traviata we can only bow our heads in appreciation for the two great artists who graced the Roman stage with their presence, and show our readers two examples of their extraordinary talent.

Singer no. 1: Maestro Renato Bruson (you know, the one who last night got all the standing ovations and the requests for an encore and he granted them, not the other one) in Ravenna's 1991 Traviata, showing the world how you sing "Di Provenza il mar, il suol" -- diction, emissione, color, acting. Like, everything.

Download the .mp3 file here (link expires in a week)

A rapidshare series of links for the files that compose the (very lo-fi, it's VHS transfer) DVD is here, courtesy of the always tasty La Tertulia Del Foyer.

Singer no. 2: Gheorghiu singing some Rumanian pop song with a Stefan Banica, jr., which we found via the blawg of our carissimo amico Parsifal, Greek's hottest export since la meravigliosa signora Elena Suliotis (whom we'll post about very soon -- Suliotis, not Parsifal, he has this post already). 

The answer, of course, to our dear readers: who would you rather ask an encore from, 1 or 2?

Renato Bruson: All Hail the Eighth King of Rome; Angela's pi$$ed; Zeffirelli's revenge?

If Rome's Traviata were a videogame -- and frankly, why not -- we'd say that Renato Bruson 0wned Angela Gheorghiu at Halo using just the keyboard -- Angela was all made up with big hair and all, fresh from a diet that made her as svelte as mean ol' Frengo likes his leading ladies to be, and she was all like, "here's my big titanium wi-fi prototype remote controller my hawt husband (may i introduce you to my hawt husband?) got me in Tokyo, made to measure on my hand's plaster cast measurements".

And then old gray glum Bruson shows up with an old grody Atari 1981 joystick that falls apart immediately so that he has to use a Commodore 64 keyboard and there are some keys missing to boot, and he still PWNS her big time, and it's 'game over' before she even realizes what hit her.

All those people standing up, screaming "Bis! Bis!", asking for an encore at the top of their lungs. And Bruson -- grudgingly lol -- giving that encore, as Angela watched the horror unfold in front of her eyes.

He didn't waste time spelling it out, but Bruson's encore was a very clear way to say:

"I am an old baritone in Rome, and you're not. I give encores at Opera di Roma, and you don't."

//we like him, unsurprisingly.

We don't mind Angela; Angela needs a cookie: here's a cookie:

 

Anyway.

What was I just saying? Oh yes, the old-skool: because that's how the old-skool works: the new kids have all the hype and DVDs and recitals lined up until 2035 and the sycophantic journalists and the classical music record executives (who cannot distinguish the sound of a viola from that of a harpsicord because they used to work for a cellphone company). And that's, you know, Angela.

Then the old-skoolly-old singers like Bruson show up, and they don't l00k so hot now, and their voices have seen better times: but they have the skillz of a lifetime of hard work and hard study. And they've sung opposite all the greats, the ones that singers of Angela's generation only listen to on CDs on their Bang & Olufsen sound systems.

Next week, it'll be the 45th -- yes yes...forty-fifth -- anniversary of Bruson's debut at Opera di Roma,  in a 1962 Puritani. Coincidentally, and the irony is too delicious to behold, we're told that Angela's actual birthdate (the official biographies say she was born in 1965) is really 1962.

So this old cranky dude actually debuted there when Angela just a baybay -- or wasn't even (barely) born!

No wonder that he let her belt out a few choice arias, and then when the second act was going at full steam, right before Angela's huge arias of the third, tragic act, he decided to crank up the awesome just a little bit. And swiftly went for the kill.

We're told Angela really never knew what hit her.

We also hear that Opera di Roma is probably going to rename the opera Germont.

It's pretty easy:

ANGELA GHEORGHIU RENATO BRUSON IS TRAVIATA GERMONT

Looks good to me!

//(more on Zeffirelli's revenge later: it's the weekend & we're also redesigning the blawg, and you're not)

^^^update^^^

Rome's Il Messaggero writes that Angela didn't start very well, and neither did Grigolo in a lackluster first act:

Destava però qualche perplessità la limitata potenza della voce: quattro anni fa, quando la Gheorghiu debuttò a Roma, al Teatro Argentina, nello stesso titolo, sembrava più grande.

The translation: The limited power of her voice was somewhat perplexing: four years ago, when Gheorghiu debuted in Rome, at Teatro Argentina, in the same opera, (her voice) appeared to be bigger.

But then after Bruson's triumph in the second act things warmed up, and the third was the best, thanks to the voices and Gelmetti's conducting. Flowers and bunnies and ovations and all.

Angela Gets Pwnd: Applause For Gheorghiu, But Bruson Gives The Encore

This just in: crazy cheering in Rome for the premiere of Angela Gheorghiu's Violetta in Traviata (the eighth staging of this opera in Zeffirelli's career) at Opera di Roma.

But the triumph is for oldskool baritone Renato Bruson, who got cheered so wildly, for several minutes, in a standing ovation by the entire theatre after his "Di Provenza", that OMGOMGOMG he decided to pull a Juan Diego & give an encore to the crowd that at that point totally lost its pewp, drunk with Bacchanalian joy.

Less thrilled, apparently, was Mrs. Alagna herself.

But after all, even if 71 year old Bruson's voice is obviously quite spent, he remains -- in Opera Chic's humble view -- one of the greatest Germont ever, certainly the greatest of the last 30 years (and Opera Chic is a HUGE Cappuccili and Nucci fan). But Bruson's ability in creating a Germont that is a monster of ambiguity and cynicism and hypocrisy -- a character of Shakespearian proportions -- well deserved the recognition (right after last year's recital at la Scala, Bruson got almost buried under an avalanche of flowers raining down on him -- an honor that left the famously grumpy baritone visibly moved).

So give it up for Maestro Bruson and, hells, for Giuseppe Verdi and Francesco Maria Piave.

Oh, I almost forgot -- Angela Gheorghiu was there, too.

Kissin in DC: The Kennedy Center Closes For The Night, He's Still Playin

Opera Chic's favorite piano dork, Evgeny Kissin, gave another outstanding marathon of a recital, this time in DC's Kennedy Center.

OK, it wasn't a marathon of encores such as the amazing Guinness World Of Record one he gave us in Milan, but still pretty good.

(We understand that the NSA is, as we write, uploading on Rapidshare the integral recording of the show -- and also recordings of people's conversations in the foyer and the bathroom stalls. We understand that Kissin's hotel check -- what with all those suspect INROOM TV MOVIE charges -- is pretty darn funny, too: they have a nice hi-res .pdf of it!). 

Giorgio Armani: "I Have a Billionaire's Yacht, Decorated With IKEA Furniture"

Giorgio Armani baffles @ Salone Internazionale del Mobile:

Isn't that really democratic, or something?

(via Donna Moderna)

Possibly related:

Armani Profits Rise 15% in 2006; Sales Hit $2 Billion

Candide: Satire Defanged = Box Office Dud?

Want a ticket for the defanged Candide?

Help yourself, uncharacteristically there seems to be plenty available.

Fondazione Prada vi presenta "On Otto"

Fondazione Prada held an invite-only event at their via Fogazzaro exhibition space last night, to give those lucky invitees a sneak preview of German artist Tobias Rehberger's newest installation, "On Otto". The exhibition was commissioned as one of the two annual offerings by the foundation, which was established in 1993 by the saint of all that is holy in fashion, Ms. Miuccia Prada (and chief executive of Prada, Patrizio Bertelli). 

 

The exhibition elements have been erected in the giant warehouse space on the first floor of the foundation, and features four large, free-standing, walk-through pavilions. The concurrent themes of the exhibition spaces are evocative of mazes, and you stumble in half-darkness towards movie screens, mirrored rooms, and lucite corridors lined with screenplays and storyboard sketches. Outside of each pavilion have been stationed large movie screens, where images of solitary spectators are projected. The spectators are manifestations of IRL Kim Basinger, Willem Dafoe, Emmy Rossum, Justin Henry, and Danny DeVito. Oh hay. In all honesty, I looked at the screens and didn't gauge the likeness of anyone, but that could have been all the champagne imbibed.

 

I personally found it too conceptual to digest, and disliked being herded into the maze-like, hot, claustrophobic ensconces of space while sounds of alarm clocks and dripping water were piped-through the low ceilings (thanks to Ennio Morricone’s attribution of sound and music). As an exploration of film, architecture, and design, it was intended as a demystification of the filmmaking process, which I didn't quite "get". LOL ART R NOT 4 TEH DUM LOL!!11 It was ambiguous, and just too disjointed to follow.

 

If you’re in Milan and have a fetish for Rehberger’s work, the show opens today to the public, and runs until June 6, 2007. The Fondazione is easy to find, and a 20 minute walk from il Duomo.

 

Vladimir Ashkenazy Retires From Piano Concerts Due To Joint Disease; Will Concentrate on Conducting and Studio Piano Recordings

One thing Opera Chic wanted to do, was to one day see the great maestro Vladimir Ashkenazy play the piano -- OC dreamt of basking in his sound, in the emotional power and the frightening pulse of his playing.

It won't happen.

In today's Corriere della Sera, Ashkenazy (who's in Rome for Peer Gynt with Santa Cecilia) explains that degenerative joint disease in three fingers of his hand makes it too hard for him to mantain his standards for live concerts and recitals; he will henceforth concentrate his efforts  on conducting and on piano studio recordings:

"My hands don't hurt, but if I played in public I wouldn't be satisfied. I'll work in the studio, where you can stop and start all over again... It is my choice, I'm not acting on doctor's orders, it's my life".

^^^update^^^

Our dear Jessica "Mighty Jess" Duchen links us, and gives a shoutout to Murray Perahia -- here's our Perahia proxy-post from a few months ago -- Murray is back in form, yay!

"El Sistema": Gustavo Dudamel's Secret, A Stick For Conducting

"El Sistema" ["The System"], as we call it, now encompasses 140 youth orchestras and 128 children's orchestras in our country, as well as the semi-professional Simon Bolivar Youth Orchestra of which I have been music director since 1999, when I was 18. Some 260,000 children and young people are involved in The System -- studying and playing orchestral music all the time. Every day. Absolutely. We are a family. My orchestra, and The System, is my family.

Newly minted L.A. Phil Music Director Gustavo Dudamel talks about Venezuela, giant trombones, and his three baton-wielding angels.

Marie Zimmermann, Director of Wiener Festwoche: 1955-2007

Another sad announcement today, this time from Germany: Wiener Festwoche Theatre Director Marie Zimmermann, has left us. The talented German theatre director was 51 and she passed away in a Hamburg hospital.

A favorite quote from MZ: "Theatre is not a beauty contest".

La Reine Renée Wins The French Presidential Election, Abolishes The Republic

Forget Ségolène Royal: Paris is burning and La Renay set it on fire:

The commies down at Libé forget about la Republique and all hail "Queen Fleming's Comeback"

The stodgy gents at Le Monde delight in the fact that "La Diva Renée Inflames Le Chatelet" with Massenet's Thais.

And Sarah B. knew it all already.

Show'em how it's done, Renée!

Carlo Maria Badini, 1925-2007

Sad news for la Scala: former General Manager (Sovrintendente) Carlo Maria Badini, who ran the theatre from 1977 to 1990, died today in Bologna.

During his reign (he was the successor of Paolo Grassi), la Scala staged some quintessential productions such as Claudio Abbado's Wozzeck (Luca Ronconi director) and Riccardo Muti's first Nozze di Figaro at la Scala (Giorgio Strehler director).

^^^update^^^

Now Repubblica News is reporting the passing: "Morto Carlo Maria Badini"

Ch'io ti perdoni? La rea son io: aka Crimes Against Fashion

 

The 80s are back. In a big way. Photo by Amadeus, click and scroll down for more. If you dare.

Who is this big hawt mess? Flamenco sleeves??!!

Where's Rachel Zoe when you need her???

New York Social Diary: What's the 411?

(*picture taken from NYSD, a shot of the 40th anniversary MET Gala from April 3, 2007.)

David Patrick Columbia's New York Social Diary is sometimes perused by OC, who vicariously browses all the party pictures to keep abreast of the NYC soirées that she is missing while in Milan. Like the cobra snake (some pics prolly nsfw) for underachieving LA & NYC scensters, NYSD tracks all the glamour and excess of old-$$$ NYC heredity via pictures and recaps. Integral to NYC cultural heritage is opera and ballet, and therefore (the pitifully, culturally unaware...no offense, guy) Columbia regularly attends season openings/galas at the MET, City Opera, and the ABT, and he shares stories and photos from all the best gatherings, fundraisers, cocktails, and balls.

Last week, he described his lunch at Michael's in NYC with Jane Gullong (Executive Director) and Susan Baker (Chair of the Board) of the New York City Opera, delving into (obviously) Gérard Mortier, but more specifically the upcoming NYCO May 24, 2007 floating fundraiser, The Britannia Ball.

Not to be caught unawares, The Britannia Ball is the effort of two-years fundraising planning...an evening gala organized by the NYC Opera and the Brooklyn Academy of Music, which will be held aboard the luxury ocean Cunard Line Queen Mary 2, docked in it's NYC home port (Red Hook, Brooklyn) heh. Tickets are $1,000 (but the VIP package is $2,500), and will include access to all of the most famous quarters onboard (including “Illuminations”, the only planetarium at sea). Patti LuPone will thrill the audiences with acts from her cabaret show with the Peter Duchin orchestra.

Today’s post was a rehash of yesterday afternoon’s Metropolitan Opera Guild’s 72nd Annual Membership Luncheon at the Waldorf in recognition of Kiri Te Kanawa. A narration of the luncheon includes pictures of the event, capturing a few sopranos in attendance, as well as many Met Opera benefactors.

Don’t forget to check his post from earlier this month at the April 3 Villazon/Netrebko 40th Anniversary MET Gala, which details via photos the dinner on the Grand Tier among the Gelbs, the Rameys, Deborah Voigt, and a nice photo of Martina Arroyo.

Così Fan Muti: Vienna Road Trip! And, Xmas With Violetta in London

Ozawa's back in Vienna, and this is great news; Thielemann conducts Wagner, and this is our surprised face; the Brits give themselves some Traviata for Xmas, and this is always a good idea; but what we really care about, is that Riccardo Muti -- so clearly the best Mozart conductor around -- will give us (Feb '08) another Così Fan Tutte (with Frittoli & Kirchslager omgomg). Where "us" is "Vienna", and it's "us" because we're so there, too.   

Gatti's Boccanegra: Hampson vs Furlanetto Fight to the Death

Opera Chic at this point seldom gets excited by new releases -- the really good stuff, sadly -- and this is a sad testament to the recording industry's ability to crank out the seriously cool material as they did until the 1970s or even the early 1980s -- has a tendency to come almost exclusively from captured satellite radio feeds, TiVo'ed ORF2 or MEZZO or Arté telecasts, Rapidshare in-house digicaptures, etc.

But sometimes a new CD or DVD makes us go all, yummm, this sounds tasty.   

In this case, here's the spanking (heh) new Simon Boccanegra DVD -- our Milanese maestro Daniele Gatti in his Staatsoper debut  (this was back in 2002), our sweet dear hammy ham Thomas Hampson as Boccanegra, and Ferruccio "I Got Teh Powah" Furlanetto and his mighty tonsils (all three of them, big as Mount Fuji apples) star as Jacopo. Directed by Peter Stein.

Now, Opera Chic is ready to bet her new, cruelly-horizontal-striped Jasper Conran grosgrain single-breasted coat that this DVD cannot be nearly as insanely awesome as The Definitive Boccanegra, and Hampson is lovely but is not Leo Nucci.

But then, Boccanegra's greatness (la signora Mirella Freni considers it Verdi's most moving opera) is often very generous, and new productions can seriously rock -- as witnessed by our world-travelling Sarah B who just enjoyed it at the Opéra Bastille, lucky girl.

Designer Heaven in Milan

 

The invitations have been collected (way too many), the agenda studied (too little hours in the day), and my white Prada flats have been fastened to my feet (too cute). Salone Internazionale del Mobile has flooded Milan with those quirky design types (think LA American real estate agents on crack and wrapped in hit & miss Italian labels). Cabs are impossible to find, everywhere you look in the city dwells open-air design displays and exhibition spaces, and there are dozens of cocktails to choose from every night. Unfortunately, tonight's festivities have been cut short, as our beloved i nerazzuri took their first loss of the entire season from Roma earlier at San Siro. But lucky for Opera Chic readers, now I’m able to blast y'all with an update.

La Triennale di Milano is hosting a massive exhibition space this year in recognition of Salone Internazionale, but only a few of the exhibits are worthwhile.

Super Normal (pictured above) is one of those, and has been curated by Jasper Morrison (British designer) and Naoto Fukasawa (Japanese product designer), and displays around 200 beautifully-crafted everyday objects (many can be found at Muji, which NYC'ers can purchase at the MOMA store). The objects were selected to illustrate a particular, pragmatic, yet slick design. 

Alos pretty killer was exhibition Connect Tsunagu, which celebrated Japanese living space. Most captivating was a machine that emitted tiny drops of intact water that traveled a vast highway of white tubing, and then spun around a giant white pan. It was entrancing and soothing, which I captured above.

The Zaha Hadid lecture was a total bust, as my architectural hero Hadid was sick, and was therefore stuck in bed far away from Milan. Some of the elucidated NYC crowd may remember her from last summer's kick-a$$ Guggenheim show, which took over the entire Frank Lloyd Wright building. Hadid however did make an ersatz appearance (albeit in form of a fax message). Super lame. Aperitivo afterward was more rewarding than the panel, which allowed for sugar + starch reserve before heading over to the Poltrona Frau event a few blocks away.

Sweaty, packed, and claustrophobic, and finding none of my acquaintances, the reception was kind of lame. After inspecting the new line, OC slunk away to gather her thoughts and meet friends amid the crowds at Radetzky on the way home. Tomorrow brings so much more…stay posted while opera takes a back seat to gorgeous design for a few hours.

Gheorghiu + Zeffirelli's "Traviata" @ a Movie Theatre NOT Near You

La Traviata from Opera di Roma, the Zeffirelli production with Angela Gheorghiu, will be broadcast live, Friday night, in High Definition & Dolby Sorround in 22 movie theatres (ticket price: a reasonable 10 euros).

The only problem, if you live in Milan, where the h3ll are those theatres?

Mysteriously, when it comes to Milan, they're all suburban locations -- not a single show in -- or even close to -- downtown Milan.

Anyway, here is the list of the movie theatres and their locations:

Agorà in Robecco sul Naviglio (Milan)
San Luigi in Cuggiono (Milan)
Michelangelo in Modena
Argentia in Gorgonzola (Milan) heh
Duse in Agrate Brianza (Milan)
Cristallo in Cesano Boscone (Milan)
Capitol in Sermide (Mantua)
Lux in Quistello (Mantua)
Sala della Comunità in Vò di Brendola (Vicenza)
Eden in Genoa
Manzoni in Maniago (Pordenone)
Primavera and Leone XIII in Vicenza
Da Ponte Martinovich in Bassano del Grappa (Vicenza)
San Massimo in Verona
Don Bosco in Gualdo Tadino (Perugia)
San Luigi in Concorrezzo (Milan)
Victor in Cesena
Agnelli in Turin
Rex in Padua
San Filippo Neri in Collebeato (Brescia)
Il Piccolo in Santo Spirito (Bari)