Standard fare threatened to dominate the final weekend of February at the Met: a routinely-cast revival of Cav & Pag plus two recent productions by the house’s favorite Eyre-head. But then there were also two extraordinary opportunities to indulge in divadienst of the “An(n)a-in-excelsis” genus—Saturday offered another chance, announced only 24 hours earlier, to sample Ana Maria Martinez’s unexpected Butterfly, then Sunday afternoon brought Anna Netrebko’s exceptional, sold-out sui generis all-Russian recital. Read more »
Sir Richard Eyre’s new Manon Lescaut last night—his third production at the Met in as many seasons—demonstrated once again no particular aptitude for opera and more often hindered rather than helped his stars Kristine Opolais and Roberto Alagna as they struggled—only sometimes successfully—with Puccini’s demanding opera. Read more »
“Mr. Luisi won praise replacing Mr. Levine time after time, particularly in a costly version of Wagner’s Ring cycle—though, perhaps in a sign of the situation’s delicacy, the two conductors have never met in person.” [New York Times]
Newton’s Third Law of Motion states that for every action there is an equal and opposite reaction.
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
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.