“Sonya Yoncheva will make her North American role debut as Violetta in Verdi’s La Traviata at the Met this January. Yoncheva was originally scheduled to sing Musetta in La Bohème at the Met this season. Instead, she will sing Violetta, one of her most acclaimed roles, as a replacement for Marina Poplavskaya, who has withdrawn from the performances. Read more »
Soprano Amanda Majeski will make her Met debut on the opening night of the 2014-2015 season as the Countess in Le nozze di Figaro, replacing Marina Poplavskaya “who has withdrawn for health reasons.” Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
“Russian soprano Marina Poplavskaya has fallen ill and unfortunately has had to withdraw from singing the role of Hélène in Les Vêpres siciliennes in the final rehearsals and the first three performances in October.”
Due to wellness, it is with deep contentedness that Marina Poplavskaya will after all sing the role of Alice in Robert le Diable.
La Cieca predicts you won’t be seeing any puritans at the Met next season, except of course for the ones who slouch around during intermission hissing, “You call that a trill?”
UPDATE, Tuesday, 7:45 AM: The Met sent out a press release at 1:27 AM New York time today announcing major changes to its roster for the tour of Japan this month. La Cieca has revised the following gossip item (which appeared at 11 PM last night) to reflect the Met’s confirmations.
Willy Decker’s Traviata has garnered praise from critics and audiences alike in the week since its Metropolitan premiere, but (as was to be expected) this praise comes over the complaints of a select few traditionalists, a handful of lonely boos amid the mostly enthusiastic applause. Their objection (as usual) is that Decker’s production betrays the “original text” of “Verdi’s La Traviata.” But these detractors should consider that La Traviata is a work in which questions of betrayal and fidelity are specifically at issue—one that reminds us that sometimes, counterintuitively, the only way to remain faithful to someone or something is […]
The answers of millions of supplicants worldwide (and thousands of Met-goers citywide) have been answered. “[Peter Gelb] said there were no plans to replace Mr. Zeffirelli’s productions of La Bohème and Turandot. [New York Times]