Cher Public

The naked truth

akhnatenHighlights of the Metropolitan Opera’s 2019-2020 season will include the company premiere of Glass’s Akhnaten featuring Anthony Roth Costanzo and first local Turandot of Anna Netrebko (not pictured), according the always intriguing Met Future Wiki. 

More recently added data includes, in 2017-2018:  Ekaterina Semenchuk as Santuzza;  debuts of Etienne Dupuis and Luis Chapa; returns of Markus Werba, Elchin Azizov and Elena Manistina and possibly Doris Soffel as Klytamnestra.

In 2018-2019 we an expect a centenary Trittico in late fall featuring Marcelo Alvarez as Luigi; Edith Haller‘s debut as Gutrune; the return of Karel Mark Chichon and the debuts of Cornelius Meister and Omar Meir Wellber.

Further plans for 2019-2020 (previously revealed) include new productions of Porgy and Bess with Eric OwensAida (Anna Netrebko), The Legend of the Invisible City of Kitezh (Dmitri Tcherniakov), Der Fliegende Holländer (François Girard) and Wozzeck (William Kentridge.)

Photo: Craig T. Mathew / LA Opera

  • PCally

    I really hope it’s true about the Kitezh. I own the DVD and it is an absolutely unbelievable production, his best IMO. I kind of like the current Dutchman but it’s been around for a while and Kentridge should be interesting. And I think Soffel could fit into the chereau better than pretty much any other current singer of the role.

    • Marcello

      The Wozzeck is probably a co-production with the 2017 Salzburg Festival.

    • Porgy Amor

      I don’t love the idea of the same director getting both of the Berg operas at the same house. Not Kentridge, in any case. He is a gifted visual artist, and I’ve liked looking at his opera productions, but what he has done so far worked better in The Nose. With a similar approach, he missed a lot in Lulu. Or, put another way, what he did made me miss a lot (cf. Chéreau, Dexter, Loy, Warlikowski).

      Oh, well. It’s not as though I have a strong attachment to that Lamos Wozzeck they’ve had since the ’90s. It isn’t one to inspire strong feelings either way. I do still wish there had been an HD of Meier’s last Marie several seasons ago, because that was one of her great parts. Stuart Skelton made his Met debut in that, as the Drum Major. He will always be able to say he first appeared on the Met stage groping the legendary Waltraud Meier.

      I still have not watched my DVD of Kitezh, but I saw the production once online. Yes, that is great Tcherniakov, along with Khovanshchina, maybe Tsar’s Bride and a few others.

      • Krunoslav

        Kentridge is a designer, NOT a director, as a conversation with several singers he’s directed reaffirms. But he has art world cred and is a NYT favorite for several reasons, one of them being his genuine brilliance as an artist

        • Armerjacquino

          Whatever he’s like in the rehearsal room, THE NOSE was a big hit artistically and LULU got great reviews too- at this point it would be a very odd way to run an opera house if he weren’t given further work.

          • Greg Freed

            The Nose was also, somewhat surprisingly given the difficult music, hard to get tickets to. I had to go on StubHub because it sold out. So that’s worth repeating. I know nothing about running an opera company but I wonder if the art world might somehow yield better results for de-greying audiences than Broadway. (My friend who does know things about how opera companies work will roll his eyes if he reads this, but I’ll never know!)

            • I think in Paris in Mortier’s day that was the case. But the Paris opera even now seems to have less trouble getting bums on seats than the Met.

    • fantasia2000

      I specifically flew to Barcelona two years ago to see Kitezh in Liceu, and you’re right, it’s nothing short of magnificent. It’s like watching war unfolding on stage right in front of my eyes. The chorus in Liceu particularly created a thick wall of sound that assaulted ears as well as sight. It was one of the most profound opera experiences in my life, albeit very disturbing also. I too wish to experience it again at the Met.

      Doris Soffel was awesome at the Paris Opera Hoffmann last month, singing the ghost of Antonia’s mom. The stage-in-stage platform turned that role into a solo diva, and she milked it for all its worth! :)

      • Rick

        I saw Doris Soffel earlier this year as the old Prioress. I can only say “wow”! Beautifully sung, wonderfully acted, I am sure she is a great Klytamnestra as well.

        • Porgy Amor

          I am glad to hear that. Her Marfa in the Tcherniakov Khovanshchina almost ten years ago, when she was nearing 60, was miraculous — great acting and a remarkably well-preserved voice. Her Andrey was the much younger Klaus Florian Vogt, and the production took that head on and it worked.

  • Strange. I just checked the Met Future Wiki page and I don’t see a lot of what’s listed above. Anna in Aida and Eric Owens in Porgy and Bess was already listed….I don’t see Semenchuk listed as Santuzza and the other artists mentioned. There are also a lot operas listed under “repertory” with blank casting.

    And are they really doing Turandot again next season? With whom I wonder?

  • DIe Fiakermillo

    Wouldn’t count on the Bieto Forza next season if I were you. Just saying…

  • DIe Fiakermillo

    According to the January OPERA, the Micheletto production which just opened in Paris of Samson et Dalila is headed to the Met in 2018-19.

    • Pete

      Saw the Paris production. Staging of otherwise beautiful opera was strange, e.g. no ballet at the bacchanal and the walls coming down seemed lame.

  • QuantoPainyFakor

    No indication of a special event to celebrate the 50th anniversary of Domingo’s MET debut in 2018? Maybe Gelb will just throw a dinner!

  • MWnyc

    Gawd, is it really going to take that long to get Akhnaten here?

    • JR

      And yet it doesn’t seem as long a performance of it.