“As one opera season winds up, marketing for the next kicks into high gear: the Met in particular is promoting its 2014-2015 season, promising thrilling voices, magnificent melodies and sumptuous productions. They may be missing an angle calculated to appeal to the more adventurous attendee: opera as game of chance.” [New York Observer]
Peter Gelb talks about the “social rejection” of the Met, and how he plans to deal with it. (Spoiler: telekinesis is not an option.)
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
Javier Camerena, “as close to a rock star as the Met has produced from its male roster this season,” has big plans with the company, with at least four roles planned for future seasons.
That’s the exact word I’d use to describe Olga Peretyatko’s debut in I Puritani last night at the Metropolitan Opera: “calm.”
In anticipation of the Met’s revival this evening of I puritani, I thought it might be nice to take a look back at a few archival videos. In terms of commercial videos, there isn’t much out there, so once again I look to those great old pirated videos for inspiration.
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.
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.