User talk:Iamsumware
Porgy and Bess[edit]
Firstly, as has been proved at Der Ring des Nibelungen, it does not matter whether productions are playing now or were last played 50 years ago to merit their inclusion in an article. As this production opened very recently, we are unable to make a statement about its relative worth. Whereas Nunn's previous production at Glyndebourne spawned a Proms concert, a highly-regarded (admittedly non-universally) recording with EMI, a filmed version (on a soundstage), as well as furthering the career of now superstar conductor Simon Rattle, this production has not yet been successful or unsuccessful. In several years, if the production tours the world à la Phantom (obviously not as much, but still going to places such as Sydney), then several paragraphs may do. I advocate a "Wait and See" approach to the notability of current events.
I thank you for being civil and trying to resolve this disagreement in a mature manner.
Regards,
Alexs letterbox 22:29, 28 November 2006 (UTC)
- 1. All productions are sanctioned by the Gershwin estate (the opera is still under copyright, that expires very soon), and the original production has only two and a bit paragraphs to it. By including such a long description as you have, you are almost saying that this is the best thing ever to happen to Porgy and Bess. On point 2 I know that Wikipedia has no size restriction as such, but it is not an indiscriminate collection of information. We must select facts and present them in a brilliant and concise manner. I have done the concise part by giving two sentences to this production, while most others have only one. Porgy and Bess is a Featured Article, and thus a consistent style must be maintained across it. The policy I believe applies most here is WP:NPOV#Undue weight. This guideline is primarily used in heavy political issues, but I believe it applies here. You have already admitted you are biased towards this production by saying "This is the biggest thing to happen to porgy for decades". There is no evidence to support this, unlike the other productions (Eg. Crawford's, European and the 1952 which set Leontyne Price's career in track). If you can prove (using sources) that this production is as important as those, then by all means include a sub-heading and several paragraphs. If not, I feel you must be content with the two sentence mention.
Best,
Alexs letterbox 06:41, 30 November 2006 (UTC)
- Do whatever you want, I have given up caring. --Alexs letterbox 04:44, 1 December 2006 (UTC)
Concerning Porgy and Bess[edit]
-Iamsumware I am not an advocate for disputes, but I have read through your dispute with alexsletterbox and viewed some of yours (and alexsletterbox's) edits and wish to give my outside opinion
The addition of the 'World premiere' section is, I feel at this time, unnecessary. In following of the other subsections of Productions, you could say 'Trevor Nunn's 2006 Production', instead of 'World Premiere', which would keep the same sort of title's as the 'Houston Grand's 1976 production' and '1952 production'
As a matter of fact, the mention of the movie could be tied into the 'subsequent productions section', though you'd need the year.
Here's my proposal
[Extract from Production Section]
...became clear that Porgy and Bess was indeed an opera, not a serious piece of musical theatre. This production won the Houston Grand a Tony Award—the only opera ever to receive one—and a Grammy Award.
Subsequent productions
Another Broadway production was staged in 1983. After toying with the idea of staging the opera since the 1930s, the Metropolitan Opera staged the work in 1985, opening on February 6. England's Glyndebourne Festival tackled the work with a 1986 production. These productions were also based on the "complete score," without incorporating Gershwin's revisions. A semi-staged version of this production was performed at the Proms in 1998. The centennial celebration of the Gershwin brothers from 1996–1998 included a new production as well. On February 24-25, 2006, the Nashville Symphony Orchestra, under the direction of John Mauceri, gave a concert performance at the Tennessee Performing Arts Center that restored the cuts made by Gershwin himself for the New York premiere. In 2000 and 2002 there was a revival directed by Tazewell Thompson at New York City Opera.
Trevor Nunn's 2006 production
On November 9, 2006 at the Savoy Theatre (London) Trevor Nunn, who had previously directed the show as an Opera at the Glyndebourne Festival, opened Gershwins classic, this time in the form of a musical. Working with the Gershwin estate, Nunn used dialogue from the original novel and subsequent Broadway stage play to replace the restive with naturalistic scenes, while Gareth Valentine provided the musical adaption.
[Extract Ends]
Thus you have eight lines in three (I feel the actor's names are not necessary)
Ultimately the edit is up to you, I will not interfere with this article itself, however I do want you to consider the possibility of contracting the article a little.
Rpgsimmaster 08:27, 2 December 2006 (UTC)
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