In a recent interview with the New York Times, Olga Peretyatko was asked about how the secrets to her success. She answered, “Our world is really hard, and the winner is the one whose nerves are stronger…. Opening night at the Salzburg Festival? I was calm. In the Arena di Verona? I was calm.” And that’s the exact word I’d use to describe Peretyatko’s debut in I Puritani last night at the Metropolitan Opera: “calm.” Read more »
The scene: a vocal audition, sometime in the past. A young, blond soprano approaches the podium. Her aria: “Un bel di.” She sings. Before she gets to the second “Chi sara” she’s rudely interrupted. Read more »
Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
The sad fact, though, is that the Met is not doing a great job or, in most cases, even a competent job at this core task.
Alan Gordon has mass emailed AGAM again, and La Cieca’s got a copy of the missive.
La bohème is such a popular romantic opera that hardly anyone ever notices that Mimì and Rodolfo undergo what in modern terms would be called speed dating.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.