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)
“A philosophical espousal of the principle of protest doesn’t entail an endorsement of the content of a particular demonstration. I applaud the Klinghoffer protesters for voicing their opinions, but that doesn’t stop me from saying that I find those opinions ill-informed, inept and downright dangerous.” [New York Observer]
“The sensation is that you are actually right there in the studio with Callas herself. In comparison to earlier masters of this material, she sounds less abstractly ‘divine’ and more approachably human.” Our Own JJ reviews the massive collection Maria Callas Remastered: The Complete Studio Recordings (1949-1969) for his regular column in the New York Observer.
Mark Morris’ staging of Acis and Galatea at Lincoln Center is everything good about summer condensed into two hours.
“The dark clouds hovering over Mr. Gelb should not obscure his very real achievements.”
“Mr. Burden did his best to wrestle with what looked like a disused Dale Chihuly chandelier, but…”
“At Carnegie Hall last Thursday, a capacity crowd witnessed what might be the final official act of a monarch who has reigned for more than four decades.”
The NY Phil Biennial, a new music festival that is dedicated to new music, kicked off its first season at a drowsy time on the performing arts calendar, the week after Memorial Day.
The Met may be missing an angle calculated to appeal to the more adventurous attendee: opera as game of chance.
“In Kristine Opolais, who gave her first Met performance in the title role on Friday night, the company has a Butterfly with the soaring voice and penetrating theatrical presence to meet Minghella’s elegant dramaturgy head on.”