Back-to-back casts in the Metropolitan Opera’s revivals of Madama Butterfly and La traviata offer ample opportunity for soprano-gazing.
Il trovatore may be famous for its melodramatic plot and unlikely mistaken identities, but surely even Verdi and Cammarano couldn’t have imagined the chaos of a performance featuring two Manricos and two Leonoras.
Power struggles, prejudice, feuds and revenge abound in San Francisco at the moment.
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”