“Ring a ding ding! There’s a new Duke in town, and he’s jolting the Met’s Rigoletto with enough electricity to light up the Las Vegas Strip. It’s Vittorio Grigolo, who flaunted a big, trumpeting tenor and a megawatt personality when he made his company debut in the role Saturday night.” [New York Post]
“Bollywood dance numbers, kung fu fighting, simulated nudity — and rock-solid musical values — added up to a sterling Giulio Cesare at at the Met.” [New York Post]
Our Own JJ (not pictured) just came running into the parterre offices wild-eyed with excitement. And no wonder, because the news, once we got him to spit it out, is that he has been credentialed to cover the Bayreuth Festival this summer, reporting for the New York Post on the new Ring, Lohengrin and Der Fliegende Holländer.
“The spring season at the Met is as changeable as March weather in New York: crisp and brilliant for a day or two, and then suddenly as dismal as Thursday night’s Faust.”
Short as Roman emperor Eliogabalo’s reign was, the world sighed in relief when it was over.
Thursday’s Met performance of the Verdi tearjerker featured a major find: Diana Damrau, who, in her first outing as Violetta, mesmerized with her gleaming soprano and ferocious acting.
It’s not often operagoers leave humming the scenery, but that was the case Monday, when the Met hauled out Riccardo Zandonai’s Francesca da Rimini from the vault.
With Wednesday’s stellar staging of Rodgers and Hammerstein’s Carousel, the New York Philharmonic joyously put the ‘music’ back into the Broadway musical.
The Met’s performance of Don Carlo Friday night was a tragedy, but not for the reason Verdi intended.