Difficult people
Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
29 pieces since 2012 — in 13 roles, at 8 companies, most often at Metropolitan Opera.
10 pieces as Metropolitan Opera — stats above show all coverage for Brian Jagde.
View allAnna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
Sondra Radvanovsky was a force of nature as Tosca on Thursday night at the Met.
About this evening: the opera we saw was Arabella, written by a gentleman named Mr. Richard Strauss.
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