“The soup is hot; the soup is cold; Norman Lebrecht got it wrong again.” Read more »
Every year I say I’m not going to another La Bohème because I’ve seen this too many times. And every year I end up going to multiple performances. I always find an excuse. “Oh there’s so-and-so singing and I haven’t heard him in anything but Madama Butterfly and that doesn’t even count because the tenor doesn’t sing at all after the first act …” But today after I won the lotto for yet another Bohème I wondered if I go simply because the opera (and production) is comfort food. At this point in my second career as an opera-queen-with-two-X-chromosomes, La Bohème doesn’t require very active, pins-and-needles listening. It’s like watching an old MGM musical. Read more »
A press release from the Met grippingly begins, “In a fiscal year that challenged the nation’s largest performing arts organization to find a more sustainable financial model for the future, the Metropolitan Opera incurred an estimated $22 million budget shortfall for the 2013-14 season, it was announced today.” Read more »
The Met has just announced it is revising once again its rush ticket policy, doing away the “lottery” system in place earlier this season and instead going to a “first come, first served” online sale daily.
“In a last-minute substitution, American tenor Bryan Hymel will sing the role of Rodolfo in this evening’s performance of La Bohème, replacing Ramón Vargas, who is ill.”
Throw in a trio of murders and a healthy splash of vodka and you have, more or less, the plot of Shostakovich’s Lady Macbeth of Mtsensk.
This was the kind of night that proves the haters right: sometimes opera is boring.
“Sonya Yoncheva will sing her first-ever staged performances of Mimì in Puccini’s La Bohème at the Met on November 14, 20, 24, 28, December 1 and 5, replacing Kristine Opolais.
At the first intermission at last night’s Met revival of Aida, I turned to my companion and said, “So… what about the Aida? I thought she was supposed to be good.”