Resisting the recognizable
It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
19 pieces since 2012 — in 14 roles, at 7 companies, most often at Metropolitan Opera.
4 pieces as Metropolitan Opera — stats above show all coverage for Brenda Rae.
View allIt was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Handel’s biting Agrippina finally arrived at the Metropolitan Opera Thursday evening 310 years after its Venetian premiere.
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