The Metropolitan Opera once again provided an opportunity to hear excellent singing with the return of Janácek’s Jenufa, the centerpiece of which was the performance of Karita Mattila as the murderous Kostelnicka. However, this overall success was diminished by a puzzling production by Olivier Tambosi from 2003; its odd set design and slack stage direction provoked more dissatisfying questions than a fully realized reading of the text. Read more »
The Crypt Sessions, in collaboration with On Site Opera, presented the world premiere of Gregg Kallor’s The Tell-Tale Heart Wednesday night in Hamilton Heights. The program, consisting of the short monodrama and two additional instrumental pieces (also by Kallor), moved nimbly from a sincere, emotional urgency, toward an effective climax of macabre hysteria. Read more »
Having remained absent from the Metropolitan Opera since 1931, Rossini’s Guillaume Tell made a tepid return to the company last night (the first time in the original French!), with a new production by Pierre Audi. While it was wonderful to hear the brilliant score, performed by an impressive cast and orchestra, thoughtless direction stifled the epic drama. Read more »
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
dell’ arte Opera Ensemble continued its exploration of love and money by mounting Massenet’s Manon
On Saturday night, dell’ arte Opera Ensemble presented a lean performance of La Traviata.
Florence Foster Jenkins, a new film directed by Stephen Frears, celebrates a true amateur.
While composed within a European style, La Fanciulla del West is an opera that manages to present a distinctly American experience.