Having remained absent from the Metropolitan Opera since 1931, Rossini’s Guillaume Tell made a tepid return to the company last night (the first time in the original French!), with a new production by Pierre Audi. While it was wonderful to hear the brilliant score, performed by an impressive cast and orchestra, thoughtless direction stifled the epic drama. Read more »
“Michael Grandage’s staging of Don Giovanni, DOA when it premiered five seasons ago, served as a vehicle for the return to the Met of Simon Keenlyside after two years of various infirmities. . . . He towered over the listless supporting cast like Daniel Day-Lewis guest-starring in a marionette show.” [Observer]
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.
While Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory, it at least provides one with a distinct pleasure: the opportunity to hear some delightful music. Read more »
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
“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in this season’s September and October performances of Mozart’s Don Giovanni, replacing Rolando Villazón, who has withdrawn due to illness.”
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.