“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.” [New York Observer] Photo: Marty Sohl/Metropolitan Opera
“Surprises—or let’s say pleasant surprises—are among the chief joys of frequent opera-going. Best, and most precious, of all these impromptu delights is the eagerly anticipated performance that soars beyond even one’s most extravagant fantasies. That’s what happened when Sonya Yoncheva sang her first Met La Traviata last Wednesday: I expected something lovely, but what I beheld was nothing short of magnificent.” [New York Observer]
“…it’s particularly bewildering that before 2013 there was no such thing as the Prototype Festival, a program so essential that it feels like it must have been around forever. With a splendid sense of appropriateness, this festival of new opera is the first important event in the New Year, and the pieces it showcases offer at their best the thrill and hope of a New Year’s resolution.” [New York Observer]
Die Meistersinger von Nürnberg is a problematic opera—or, rather, it is an opera that has, in the last century or so, become problematic.
Show Boat continues to communicate, even in the less than perfect circumstances of this latest revival.
“Taken by itself, the St. Matthew Passion felt a little mundane. But compared to Zauberflöte, it could have been the Second Coming.”
“So it’s twice as disappointing that Monday night’s performance of the Mozart masterpiece turned into a four-hour fizzle.”
“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.”