Sir Richard Eyre’s puzzling production of Manon Lescaut returned to the Met last night, following last season’s premiere in February. Its concept, which updates the novel’s 18th century time frame to 1940s France, continues to remain elusive and frustrating. And yet, despite this unsatisfying aspect, the evening was redeemed through the sheer star wattage of Anna Netrebko—whose Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity. Read more »
Producing Hector Berlioz’ Les Troyens is an immense undertaking for any opera house, requiring casting for 22 named roles, a large orchestra and chorus, versatile dancers, substantial design challenges, and an audience undaunted by its Wagnerian length and scope. On Sunday afternoon, Lyric Opera of Chicago rose to the challenges mightily in its first-ever performance of this titanic work. Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment. Though a fairly basic take on Donizetti’s featherweight 1840 comedy, a solid cast and nimble direction made this a rewarding evening for locals willing to sober up/crawl out from under the covers for the first time since Tuesday. Read more »
The celebrated ‘Triumph’ scene… borders on homoerotic porn.
Janácek’s disconcerting commentary on youth and immortality received a full-throated performance.
Seville bills itself as the “City of 150 operas,” and celebrated this fact at the Exposition of 1992 by erecting a magnificent new opera house, the Teatro de la Maestranza, right beside the Plaza de Toros.
The centerpiece of Janácek’s Jenufa was the performance of Karita Mattila as the murderous Kostelnicka.
>The Crypt Sessions, in collaboration with On Site Opera, presented the world premiere of Gregg Kallor’s The Tell-Tale Heart