Our Own JJ (not pictured) writes in the New York Observer, “The combination of the Metropolitan Opera’s opening night—one of the most glamorous social events of the year, in theory at least—and a new production of Le Nozze di Figaro—which is, after all, about a wedding—should result in a doubly gala event. So it’s twice as disappointing that Monday night’s performance of the Mozart masterpiece turned into a four-hour fizzle.” (Photo: Ken Howard, Metropolitan Opera)
Music Director James Levine (pictured, right) is obviously feeling well enough that he can get back to favorite pastime, i.e., making sure nobody else has a success except him. Read more »
SiriusXM is broadcasting right now a 1981 performance of Tristan und Isolde featuring Gwyneth Jones (pictured) and Spas Wenkoff, with James Levine conducting the work that season for the first time in his career. And yet, here’s an operatic mystery: neither Ms. Jones nor Mr. Wenkoff was the casting originally conceived by Mr. Levine for this revival: they joined the cast fairly late in the game. So, who among the cher public can tell us which two familiar Met artists were supposed to sing these roles?
Your Own La Cieca has emerged from semi-retirement to present the 2014 Pubie Awards.
“The finale of Sweeney Todd left the stage of Avery Fisher Hall littered with corpses, but the evening, for all its flaws, felt vibrantly alive.”
How, then, to explain the perplexing performance last Friday night of Falstaff, Mr. Levine’s first new production since his return?
Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop.
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
For those of you who might have overlooked the fact that James Levine is conducting tomorrow night at the Met, the New York Times will get you up to speed this morning with no fewer than four (4) features on the return of “somebody who may be the greatest opera conductor in history.”
The question on everyone’s lips at Carnegie Hall was, “Is Jimmy back in form?”