To be a poet is a condition
Are today’s stars enough to sustain Andrea Chénier?
24 pieces since 2015 — in 16 roles, at 9 companies, most often at Metropolitan Opera.
9 pieces as Metropolitan Opera — stats above show all coverage for Brenton Ryan.
View allAre today’s stars enough to sustain Andrea Chénier?
A muted and merry carousel ride out of feudalism in the Met’s production of Le nozze di Figaro
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Yannick Nézet-Séguin and the Metropolitan Opera Orchestra reigned supreme at the opening night of Wozzeck on Friday evening, rendering every snarl and shimmer of Berg’s score with gripping intensity.
Heretofore I’d avoided the Met’s abridged, English-language holiday presentations.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.
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