An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
How did you first grow interested in singing?
If Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score.
Beaumarchais clearly delighted in this unobtrusive realm.
Homer, inspired by many a muse, sang not of sequels to his Iliad.
I have an idea (soon to be angrily debunked in the comments section) that Le nozze di Figaro is rarely a source of unalloyed bliss to the chronic operagoer.
As I leaned forward the woman in front of me turned to her seatmate and very quietly, in a voice thick with emotion and not a few tears, said, “it’s so beautiful.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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