Cher Public

  • tatiana: I don’t usually set a lot of store by Tommasini, but his questioning of the update to the 1940s reminded me of a recent... 10:08 AM
  • Silver: Ah, if only production people would listen to the music. The score for LESCAUT is luscious. This production is awful. No singer... 10:06 AM
  • Krunoslav: This is shameful. The Newspaper of Record! “As Manon, the soprano Kristine Opolais sounded as glamorous as she... 10:05 AM
  • Krunoslav: ““She represents a new style of performer,” she said. “Which is the total performer. ” Just without a high-quality... 9:57 AM
  • marshiemarkII: Tommasini: http://www.nytimes .com/2016/02/15/ar ts/music/manon-les caut-roberto-alagn a-kristine-opolais .html?_r=0 9:54 AM
  • NPW-Paris: Bad news for all eels : “… every mountain an’ eel made low”. 9:52 AM
  • marshiemarkII: And darling Milady, how did the Sei tu che piangi sound on the radio? In the rehearsal it was simply stunning, but... 9:47 AM
  • marshiemarkII: Very interesting article on Opolais, does anyone know what that “dark past” is?!?!?!?!?!!? https://www.was... 9:42 AM

Married to the mobcap

I have an idea (soon to be angrily debunked in the comments section) that Le nozze di Figaro is rarely a source of unalloyed bliss to the chronic operagoer. Read more »

West side, east side

Photo: Ken Howard/Metropolitan Opera“Broadly speaking, there are two types of New Yorkers: the ones who say ‘I’m going to the Met’ meaning ‘I’m going to see an opera’ and the ones to whom the phrase means ‘I’m finally going to see those Piero della Francescas everyone has been talking about.’  Recently, though, opera showed up at both Mets, the Metropolitan Opera and the Metropolitan Museum of Art.” [New York Observer]

Our retrospection will now be all to the future


La Cieca predicts you will be seeing more of the same old puritans at the Met next season, and she’s not just talking about the ones who slouch around during intermission hissing, “You call that a trill?” But uou will also see six new productions (including a Met premiere of a 21st century work) and the local debut of one of opera’s most controversial stage directors. Read more »