“Nobody wants to spend three or four hours of their life sitting through a mediocre opera performance, especially when you consider what tickets cost these days. But mediocre means ‘average,’ so, statistically speaking, if you go to the opera a lot, it means you’re going to be confronted with middling performances more often than not. You have to kiss a lot of frogs, right?” Our Own JJ crunches the numbers at the Met and LoftOpera in the New York Observer. (Photo: Ken Howard/Metropolitan Opera)
“’They’re young… they’re in love… and they kill people’ goes the tagline for the 1968 film Bonnie and Clyde, but the slogan could apply almost as well to the outlaw pair at the center of the Metropolitan Opera’s white-hot revival of Massenet’s Manon.” Our Own JJ also ponders another revival (if that is not too strong a word), Lucia di Lammermoor, in his latest New York Observer roundup. (Photo: Ken Howard / Metropolitan Opera)
Donkey dick and other Asian fusion vaudeville acts arouse “The BAM Effect” at Handel’s Semele. [New York Observer]
“It was the chilliest opening night at the Met in years on Monday—barely 15 degrees when the curtain went up on the company premiere of La Donna del Lago.“
“If Mozart had only had the sense to write Don Giovanni in a… single-performer format, last Wednesday’s revival at the Met would have been one for the ages.
“Don’t bother with The Loft or The Boy Next Door: the most spine-chilling thriller currently playing isn’t on the screen of your local multiplex but on the stage of the Metropolitan Opera.”
I expected something lovely, but what I beheld was nothing short of magnificent.
It’s particularly bewildering that before 2013 there was no such thing as the Prototype Festival.
Die Meistersinger von Nürnberg is a problematic opera—or, rather, it is an opera that has, in the last century or so, become problematic.