Cher Public

  • blansac: What the HDs cannibalize in ticket sales they may make up in way of generating donations. I’m guessing that one of the... 12:38 PM
  • kashania: I know that it’s tricky to arrange with all the collective agreements (and “tricky̶ 1; is likely a gross... 12:26 PM
  • Krunoslav: Cosme’s bio pic will in fact be titled STRAPPING ALONG. 12:25 PM
  • Bluebeard: Ok, but let’s think about the prices of Met tickets, which have become unbelievably expensive since the 2012-2013 season... 12:22 PM
  • overstimmelated: I was at the Entführung with terrific Ben Bliss and it looked like a practically full house from where I was sitting. I... 12:21 PM
  • classicalbeat: Gualtier M: I do not often enter this arena, but it seems relevant and only slightly self-serving to say that I did see... 12:16 PM
  • La Cieca: Well, everyone says this, but if you take a look at Broadway grosses, the majority of shows run lower than 66%. The problem is... 11:44 AM
  • The Poet Lenski: Not offering HD screenings in the NYC area would only work if the Met offered more access to reasonably priced tickets,... 11:44 AM

Bleak house

Elektra 3By the time Nina Stemme and Esa-Pekka Salonen reached the thrilling climax of Elektra’s grimly determined opening monologue Thursday evening, no one in the Met audience was thinking about that afternoon’s startling retirement news. The haunted Mycenae of Patrice Chéreau’s enthralling production of Richard Strauss’s Elektra had seized its viewers in an unrelenting vise that never relaxed even at its quietly shattering conclusion.  Read more »

Not only with words, but with lively gestures

Elektra Marton“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”  Read more »

In harem’s way

DünyaOthello in the Seraglio is the rather unfortunate title bestowed by the ensemble Dünya on its “coffeehouse opera,” ossia The Tragedy of Sümbül the Black Eunuch, presented Friday night at the National Sawdust concert space in Williamsburg, Brooklyn, following a brief run in Boston, where Dünya is based.  Read more »

Saul

Sybil, shepherd

The original conductor of Nielsen’s opera summed the piece up well I think…

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Boccanegra 1

Doge days

That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.

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Camarena

Light from shadow

Javier Camarena offered a performance carefully calibrated to a more intimate venue that nonetheless offered emotionally potent results.

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Butterfly

To live and die (with honor) in L.A.

Los Angeles first saw Giacomo Puccini’s Madama Butterfly presented at the Mason Opera House downtown in 1908 by the English Grand Opera Company. Rumors that LA Opera Artistic Director Placido Domingo portrayed Cio-Cio San’s little boy in that production remain unsubstantiated. 

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Devereux

I want your Essex

During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington.

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Orphic Moments

If looks could kill

What is an Orphic moment? A song so sweet that even Hades must release the dead back to the living?

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Figaro

Very old things for very new needs

With recent events in politics, it is becoming ever clearer that humankind hasn’t evolved much since the Enlightenment.

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