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Glass Notes was at the Friday night, May 2, last Satyagraha performance at the Metropolitan Opera, and reports that Maestro Glass surprised the New York opera house by appearing at the final curtain call. What he failed to report was that Glass actually came out in red heels, skintight leather pants, rawkin a motorcycle jacket and a perm, and smoking a cigarette. Although Sunday afternoon bathed upstate New York in an inescapable humid warmth, the half dozen ceiling fans stationed and circulating throughout the Alice Busch Opera Theater chased it away. With libretto and composition from Glass himself, the impetus was a carbon copy of Jean Cocteau's 1949 film by the same name, although the Greek myth of Orpheus is interpreted and slightly altered. Here we meet the characters, as the curtain rises on Act I to the scene of a modern loft, with the visible spaces of a kitchen, a large living room and dining room, and a small office. The orchestra was oh so tiny with one instrument from each group representing: one flute, one clarinet, one french horn, etc. Via the use of mirrors and invisible borders within the living spaces, parallel universes are formed for the doppelgangers to travel (Eurydice, Cegeste, the two messengers of death, and La Princesse).
When the decree comes down that Orphee cannot look at Eurydice in exchange for her resurrection, it is Heurtebise (gorgeous tenor Jeffery Lentz with teh #1 acting skillz) who uses most of his time tutoring the couple on methods of visual avoidance.
The strengths and appeal of the production lie in its unsentimental, organic, unforgiving, and edgy direction. Closet videogame nut Philip Glass has licensed his Koyaanisqatsi music to the creators of the Grand Theft Auto IV videogame, coming  in the fall for PS3 and XBox360. Opera Chic joins Alex Ross's Lunar Park in a big, minimalist (?) Happy Happy Birthday to Maestro Philip Glass, who turns 70 today.
And next October our lucky SF readers will be able to catch the forthcoming premiere of his new opera, Appomattox. SIR PHILIP GREEN has resolved to go it alone with the expansion of Topshop in America after being unable to find a suitable partner.


The billionaire businessman has been searching for several years for the perfect site in New York for a flagship American store.
Sir Philip today confirmed he had yet to sign up locations for stores but would definitely work directly without a franchise or licensee after a series of discussions with potential partners.
He's already launched in several Barney's department stores after the Kate Moss Topshop label caused a frenzy, but is looking to expand the chain and make it a must-visit for all young Americans as he has for British women.
The decision comes after the entrepreneur revealed plans to open at least six Bhs stores abroad over the next year and ten standalone Tammy stores ? the teen label he bought from the French company Etam. The expansion will include Bhs's first store in India, which is due to open in Bombay in December, as well as stores in the Middle East and Romania. Not that it mattered…since the entire audience was under the captivating spell of the Glimmerglass Opera’s sparkling production of Philip Glass' Orphee.
In this version, the poet Orphee (baritone Philip Cutlip) is sweating La Princesse, the personification of Death sans black robes and scythe (soprano Lisa Saffer).
Grey carpet stretched across, with furniture and lighting like a low-grade version of Design Within Reach’s showroom, including homage to bff4e&e Chuck Close and his patented portraiture style hanging on the wall. The orchestra was extended peppy conducting by a sequined Anne Manson, but some of the soloists were frankly a bit shaky. With Act II, we’re in the same apartment, but three judges seated on the couch reside over the trial of Orphee (with three corresponding coffees), and the stage is crowded with all of the doppelgangers. A nice golden Oscar would be  a perfectly fine, if late-coming, gift from the Hollywood community.
So let's stop obsessing about wrinkles and take note of these words of wisdom from some of the most beautiful and fabulous women in the world. He grows bored with wife Eurydice (soprano Caroline Worra) and spends increasing time with his slick Tivoli radio to escape.


For instance, after Orphee surrenders to the decree (because Eurydice had spent an exasperating spell dodging around the set trying to avoid him), she declares, “There are advantages…You’ll never see my wrinkles.” Of course, everyone knows how the story generally ends. The characters are haunted by their own doppelgangers, hovering to remind them of their own bad decisions.
For Elissa Bassist, sexual enlightenment came in the form of a totally unexpected ? and out of character ? one night stand.
Check her out at the NYC premiere a couple weeks ago, rawking a Herve Leger dress & Roger Vivier heels. Eurydice threatens to leave (and does), hauling around her Louis Vuitton luggage (+8 points…power-up for the retro vintage Poltrona Frau steamer in white leather) Luckily for her, La Princesse has exciting plans for the hausfrau, and sends her henchmen (in the form of two yellow & black neoprene clad motorcyclists) who kill Eurydice in a looped sound track of motorcycles skidding-out. This version, with opera as tragedy, our hero Orphee like a rock star kills himself with a shotgun at his own party crowded with Act I’s revelers after stealing a glance at his wife before she is carried back to Death.
There was nothing fussy or overworked, and the singing was allowed to weave over Glass’s ambient score.
In the middle of all this action is handsome Heurtebise, an auxiliary character inherent to the action, and Cegeste, a rival, oblivious poet that quickly perishes in a drunk vehicle accident and becomes La Princesse’s constant companion. The film centers on lead Ralph Fiennes (as Michael Berg) and Kate Winslet (as Hanna Schmitz) and their complex, timeless love story, set in post WWII-Germany.
Five more performances run until August 27, 2007, so you'd best get your opera-starved butts over there.



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