The Met’s planned premiere of Iolanta/Bluebeard’s Castle was cancelled due to the Great Blizzard That Wasn’t. All ticket holders were given refunds and exchanges, and the premiere was moved to January 29. As a result the lobby of the Met pre-performance was a noisy zoo. The will call line spiraled almost to the basement stairs and my! all that fur (on both the men and the women). Outside was a small but noisy group of protestors. It’s understandable that the Met staff seemed a bit frazzled and overwhelmed. Read more »
Operamission, a scrappy little company that performs music from all sorts of eras and styles in venues all over town, is in fact its Kapellmeisterin, Jennifer Peterson. Her latest brainstorm was to give A Countertenor Cabaret, starring no fewer than 14 of these once-rare songbirds, in the cabaret space of the Duplex on Sheridan Square, and to live-stream the entire event, with translations of the remarkably varied musical fare. Read more »
Manon Lescaut was Giacomo Puccini’s first big international success. His publisher, Giulio Ricordi, tried to put him off the project by citing Jules Massenet’s very successful adaptation just nine years previously. Puccini was intent on making the story his own, insisting, “A woman like Manon can have more than one lover… I shall feel it like an Italian, with desperate passion.” Desperation is certainly the feeling this reviewer got from a new recording of Manon Lescaut from our friends at Decca Classics, but I’m also quite certain it’s not the same type that the Maestro had for his subject.
What does it mean anyway to get to know a diva, and why exactly would we wish to do such a thing?
The visit of the Mariinsky Theater’s resident company to the glittering opera house of the Brooklyn Academy of Music consists of three ballet programs with starry casts preceded, last night, by a single performance of Rodion Shchedrin’s opera, The Enchanted Wanderer.
It’s particularly bewildering that before 2013 there was no such thing as the Prototype Festival.
Vittorio Grigolo in the title role of the Met’s revival of Les Contes d’Hoffman is the opera version of the charming homeless drunk.