This season’s Met Donizetti Tudor Trilogy concluded with Roberto Devereux, given its penultimate performance by HD transmission Saturday, April 16. It is good to see these works finally given here; they are too important, too crucial a part of the operatic repertory to have been ignored for as long as they have. Read more »
“After five flops in a row, Mr. McVicar continues to win new assignments from the Met: in the 2017-2018 season alone, he’s booked for Bellini’s Norma and Puccini’s Tosca, with Cilea’s Adriana Lecouvreur down the line.” [Observer]
The celebration of 50 years of the Mostly Mozart Festival at Lincoln Center features staged concerts of Così fan tutte and Idomeneo. Tickets and more information are at MostlyMozart.org. Read more »
During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington. Unfortunately, Sondra Radvanovsky, Elina Garanca, Matthew Polenzani and Mariusz Kwiecien were consistently undermined by the shockingly aimless conducting of Maurizio Benini, and so the gala premiere turned out to be less than the sum of its impressive parts. Read more »
“David McVicar, on his knee, with… Mariusz Kwiecien during a rehearsal.”
Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.
Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.
Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar.
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.