I am, perhaps instinctively, skeptical of those who commit suicide. And yet Vittorio Grigolo somehow makes it look so good—even when covered in blood. Read more »
I hadn’t seen the Met’s most recent L’Elisir d’Amore since its premiere three-and-a-half years ago, but I would have sworn Bartlett Sher’s production was pretty traditional. But its revival which opened Thursday night featured an edgy, unorthodox interpretation unlike any I’d ever seen or read about. 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. One could easily imagine a sequel in which Adina ended up stabbed to death six months after the wedding by her scary new husband. Read more »
Monteverdi’s L’incoronazione di Poppea (The Coronation of Poppea) is opera on the grand scale with mellifluous arias and breathtaking duets that tell a tale of ancient Roman political machinations, adultery, and murder in which there is no true protagonist. This stunningly expressive music is performed by an all-star cast. Soprano Miah Persson, praised by The New York Times for her “sumptuous sound and elegant lyricism,” is joined by singers who have all won worldwide critical acclaim for their mastery of this beautiful repertoire. The Guardian wrote that “there are few performers better-versed in the music of Claudio Monteverdi than Rinaldo Alessandrini and the ensemble he founded 30 years ago, Concerto Italiano.” Alessandrini and company anchor a performance that promises to be one of the season’s most thrilling nights of opera.
“…Bill and Hillary Rodham Clinton were in the audience, with their daughter, Chelsea, and her husband, Marc Mezvinsky. They were there, opera insiders said, because Chelsea Clinton is a friend of the tenor Vittorio Grigolo, who was playing the Chevalier, Manon’s true love.” [New York Times]
Vittorio Grigolo in the title role of the Met’s revival of Les Contes d’Hoffman is the opera version of the charming homeless drunk.
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.
When Norman Lebrecht is declaring on an almost daily basis that classical music is dead, it’s perhaps heartening that four of today’s prominent tenors have recently released what might be called fluff/vanity albums.
This afternoon at the Met, Grigolo sold his performance like the rent was due tomorrow and he was down to his last penny.
La Cieca alerts the cher public to be on the lookout for discounts and downright giveaways for the upcoming Vittorio Grigolo recital at the Met.
I never thought I’d see the day when Giuseppe Verdi and Benjamin Britten would battle it out for musical superiority but that’s exactly what happened in Los Angeles this year.