Best of all, this work has engendered a positive (if comparatively low-key) response here. As Hans notes, this marks a substantial improvement on some of his recent Met experiences.

I’d only heard the opera before when NYCO did it – an unpleasing occasion, whether because in those days I did not yet appreciate Janacek (loved Jenufa, iffy on the rest) or because Christopher Keene was such a lousy conductor is hard to say. It didn’t play. I have my cavils about this production (yes I do), and about the opera in this space – it does not seem as well judged for the Met as Makropoulos and Jenufa and Katya are, it is not a grand opera, not terribly vocal or clear dramatically. If you have to project the “titles” on the midst of the stage and can’t figure out who the characters are, something is wrong. (Though onstage titles worked very well in Satyagraha – an undramatic, even oratorio-ish opera, not at all naturalistic.)

But the score as played sounded quite wonderful, very like Jenufa, the same yearning lyricism contrasted with the pounding, inhuman rhythms. The “coup de theatre” (which I knew nothing about beforehand) was a great shock, as it should be, kudos. (How do they sing in all that dust?) Mattei was extraordinary, but he always is – I’d rather hear him in “vocal” roles like Giovanni or Onegin – but any Mattei is better than none.

My reaction to the production is mixed, but then my reaction to most recent Met productions (Tosca, Sonnambula, Peter Grimes, Orfeo) has been UNMIXED, so this is an improvement.

As I said, I would like to go again – perhaps (like Damnation de Faust and P. Grimes) in a partial-view seat, to ignore the stage and focus on a splendid score splendidly performed.

I’m disappointed Trittico won’t be an HD broadcast. Maybe next year?