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The Metropolitan Opera chose the early August operatic doldrums in NYC to announce the renewal of Yannick Nézet-Séguin’s contract as music director through the 2029-30 season.
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Rigoletto is the perfect opera. The story is straightforward and powerful; none of the action occurs backstage or between scenes or twenty-seven years before curtain rise; and the ethical anvil lands not once but twice, on the title character singing, “La maledizione!” The curse!
Happy 83rd birthday director and designer Robert Wilson
Xian Zhang conducts Aleksandra Kurzak, SeokJong Baek, and George Gagnidze in a live broadcast from New York
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
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On this day in 1968 soprano Marion Lippert made her Metropolitan Opera debut as Turandot.
Eastern Long Island remains surprisingly verdant even into the early fall.
On this day in 1966 baritone Walter Berry made his Metropolitan Opera debut as Barak
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Pier Giorgio Morandi conducts Quinn Kelsey, Stephen Costello, Nadine Sierra, and J’nai Bridges in a live broadcast from New York
The show, with its high production values and ever so abstract and high-minded Vedic metaphor, presents a nominally innovative performance that points at the avant garde but never quite ventures into challenging territory.
Two opera houses, both alike in dignity (but less so in resources and international fame) launched their seasons this week, making similar out-of-the-box choices: new works on edgy, contemporary themes.
On this day in 1791 Mozart‘s Die Zauberflöte premiered in Vienna
Carlo Rizzi conducts a live performance of Respighi‘s final opera from Deutsche Oper Berlin with Olesya Golovneva, Georgy Vasiliev, Ivan Inverardi, Martina Serafin, Doris Soffel, and Sua Jo