Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
On Site Opera’s Turn of the Screw, an immersive production set in the Bronx’s Wave Hill Gardens, featured mostly good singing and a few directorial and technological missteps.
Iolanta was crowned on Thursday evening by Sonya Yoncheva’s haunting portrayal of the blind title character.
Heretofore I’d avoided the Met’s abridged, English-language holiday presentations.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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