“…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. Its composer, Richard Wagner, was a profound artist who insisted in treating on profound themes: Life, Death, Love, Redemption and so forth. In this opera, though, his focus shifted to different universalities: Art and (here comes the troubling part) what you might call ‘German-ness’.” [New York Observer] (Photo: Ken Howard/Metropolitan Opera)
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.”
“Labor! Oh, the problem of labor at the Met is gargantuan,” Our Own JJ (not pictured) would have said, had he thought of it.