That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread. Read more »
“This story has been revised to correct production was Giancarlo del Monaco‘s, not Elijah Moshinsky‘s.” [AP via New York Times]
“After five flops in a row, Mr. McVicar continues to win new assignments from the Met: in the 2017-2018 season alone, he’s booked for Bellini’s Norma and Puccini’s Tosca, with Cilea’s Adriana Lecouvreur down the line.” [Observer]
During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington.
Welcome, cher public, to the real-time chat for this evening’s Met premiere of Roberto Devereux, starting at 7:55 PM. Photo: Ken Howard/Metropolitan Opera
Crack open a bottle of Bordeaux and enjoy this afternoon’s “La Casa della Cieca” chat during the Met broadcast of L’elisir d’amore.
Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question.
As portrayed by Vittorio Grigolo, Nemorino was a manic self-absorbed, probably bipolar, stalker who—against all odds and good sense—gets the poor girl.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”