Cher Public

  • antikitschychick: Ach! Yet another blunder. Opera teen saw the same performance I saw since yesterday was the 28th. Apologies. I am... 2:04 AM
  • antikitschychick: sorry not a handful of times; but a handful of productions, with this one at the Met being her 7th, so more than a... 12:53 AM
  • antikitschychick: Found a good review of the November 28th performance, (same one Camille saw) by Opera Teen: https://operate... 12:30 AM
  • mrsjohnclaggart: And the very greatest Elizabeth Rethberg in 1925 with Freidrich Schorr in “O Sachs! Mein Freund” The story... 12:29 AM
  • mrsjohnclaggart: sorry, httpv://www.youtub d-axeLs and I AM in this one which starts earlier, Maria Reining, with... 12:19 AM
  • mrsjohnclaggart: Now, Batty, wasn’t there someone here who thought act three was the worst stretch in Wagner? Here is the Nazi... 12:15 AM
  • mrsjohnclaggart: Well, Kaiser seems to think it’s a city by city issue. I can’t guess what makes San Francisco so competitive... 12:07 AM
  • Batty Masetto: Lorenzo, I don’t want to cover ground that Greg Freed has covered so well already, but Friday’s performance... 12:03 AM

21st century blues

Your doyenne peers into the future, or, to be more accurate, into the Future Met Wiki, to reveal the latest rumors on casting and repertoire. Read more »

All futures great and small

The Metropolitan Opera yesterday afternoon was an uncommonly cozy place, as the auditorium was packed to the rafters with friends and family members of the nine National Council Audition Finalists. For the finalists I’m sure the experience was nerve-wracking but it was heartwarming to see the huge cheering crowds for each finalist.   Read more »

Bows and arias

Whenever opera-lovers are canvassed about what neglected operas they hunger to see revived, the resulting lists inevitably feature a goodly number of grand operas, those once wildly popular monstrosities–particularly by Meyerbeer–written primarily for Paris in the mid-19th century. Yet despite the enthusiasm of their advocates, these works have had a hard time regaining a place in the repertoire in the 21st century. Although a recent revival of Auber’s La Muette de Portici was well received at the Opéra-Comique in Paris, Covent Garden’s splashy new Robert le Diable by Meyerbeer flopped and the Met has never revived its 2003 production of Halévy’s La JuiveRead more »

Meade as Lucrezia

The curse of drink

Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.

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You don’t have to be Druids to love it

“The Met’s production, originally directed by John Copley, is still a hideous, confusing mess. But with Ms. Meade and Ms. Barton acting with moving subtlety, singing generously and feeling deeply, it was hard to care.”

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We’ll settle that tonight!

La Cieca has been wining, dining and otherwise wooing her Met connection (pictured above) and he (or is it she?) has come across with some tidbits about upcoming seasons at Casa Gelb.

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Les vêpres de Westchester

The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.

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Ed io quest’Angela osava maledir!

Angela Meade will sing the role of Leonora in tomorrow afternoon’s performance of Verdi’s Il Trovatore, replacing Patricia Racette, who is ill.

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New York has neon, Berlin has bars, but ah! Caramoor!

This summer at Caramoor, Will Crutchfield (not pictured) will conduct two Verdi operas written for the Académie Royale de Musique.

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Bea in the bonnet

Everyone who revives Bellini’s Beatrice di Tenda, as the Collegiate Chorale did at Carnegie Hall on Wednesday night, calls the piece an “overlooked masterpiece.”

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