Conceived to showcase homegrown star soprano Sondra Radvanovsky, 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. Read more »
Certain operas are better in theory than practice. Boito’s Mefistofele has some undoubtedly fine tunes, and is perhaps neck-and-neck with Boris Godunov as a top bass star vehicle. But as an opera, it only works in fits and starts. For one, the fidelity to Goethe’s Faust gives the libretto a rather episodic, detached feel.
Gounod’s Faust might be a lot cheesier but it’s also more tightly focused and thus better theater. Boito’s opera has some some stunning choral work in the Prologue and Epilogue, a famous tune in Margherita’s lament “La altra notte” and an extremely enjoyable “Walpurgis Nacht” act but also a lot of filler. It’s not a long opera but it feels endless. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Our good friends (and advertisers) at Maestro Artist Management have been wondering just how much you, the cher public, know about Ildar Abdrazakov.
Given Anna Netrebko‘s continuing success at the Met in Macbeth (as evidenced by an mid-scene “brava” in last night’s Sirius broadcast), it’s time to think about the future—specifically her local assignments for next season.