Last night, the Metropolitan Opera once again launched their season with a new production, as has generally been their habit since Peter Gelb took over as general director. This time, Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde, replacing the austere and static production by Dieter Dorn from 1999. Read more »
“Paul Appleby will sing the role of Don Ottavio in this season’s September and October performances of Mozart’s Don Giovanni, replacing Rolando Villazón, who has withdrawn due to illness,” the Met’s press department tells us.
“Fred Plotkin, who wrote Opera 101: A Complete Guide to Learning and Loving Opera and writes about opera for the classical music radio station WQXR, said. . . . ‘[W]hen you’re really quiet, you can hear the tinkling when they stop. That sound, to me, is the sound of the Met’.” [New York Times]
I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall.
Well, when the New York Times goes into a tizzy, you know times are hard, cher public, but your doyenne is ready to ride to the rescue, hakeo don’t panic.
“The Met: Live in HD concluded its tenth anniversary season Saturday with a live transmission of Patrice Chéreau’s acclaimed production of Elektra, with an estimated attendance of 48,000 in North America earning a gross of $1,037,000.”
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.