Nico vs. Cieca?

Have I mentioned how very much I love Parterre dot com? Well I do, I have read it religiously for years, and frankly it's taught me more about the world of opera than any other single resource I've come across. That's probably a bad thing. But I don't have much to add to moderatrix La Cieca's two cents on Nico's forthcoming theatrical project except to point out the in my not so humble opinion Uncanny resemblance between playwright cum librettist Craig Lucas and Flaming Lips singer Wayne Coyne. Who's with me, here? Anybody? Anybody? Okay never mind. At any rate, I was charmed to meet Lucas at Nico's Merkin shindig a while back, especially since he introduced himself as a fan of my blog! Then I ran away from him, fast, because frankly, from what I've read in my comments section, all of you people are completely insane. So he didn't get a chance to introduce himself, and I probably owe him an apology. Well, two apologies, now. And I was going to end this post right there, but then this afternoon I was chatting with a friend of mine and Nico's who seemed genuinely upset by the drubbing N got over at Parterre. Understandable. Look again, though. Of course the comments section is going to be a Haters' Ball, that's what comments are for. I have said nasty, nasty things under various pseudonyms. What's impressive is that many of the opera queens have leapt to the defense of what, on the face of it, seems like the least operatic project ever: teenagers staring at computer screens. Recently our doyenne has fretted over whether her Parterre Box has become an echo chamber; I think she can rest easy. (Nico himself responds here.) That said. Can we please squelch the kvetching, right this instant, over whether this opera will be, like, Bad for the Gays? Even if it turns out to be a piece of crap, and (in my again not so humble but highly biased opinion) I don't think it will since I like what I'm hearing about it from the Muhly Camp, I don't think that gay composers writing gay opera in the year 2008 really need to be worrying about the burden of representation. The pendulum has swung far enough, by now, in the direction of insipid Will & Grace shiny happy nonsense that I don't think we need to hesitate before we set down depictions of gay life—for the, let's face it, 60% gay, 40% gay-friendly new opera audience—that are ugly, disturbing, and yes, tragic. Also, this comment made me titter and hee. Thank you that is all.