Erste Brautnacht
Nearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
82 pieces since 2010 — in 18 roles, at 13 companies, most often at Metropolitan Opera.
22 pieces as Metropolitan Opera — stats above show all coverage for Christine Goerke.
View allNearly three years after the premiere of François Girard’s Lohengrin at the Met, Parterre Box looks back at the production with a duet from Piotr Beczala and Elena Stikhina.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Here’s an update for those keeping up with the Lohengrin casting sweepstakes at the Met.
I can’t imagine anything more anxiety-inducing than being put in at last-minute to sing a role in a high-profile production at the Met.
It seems that François Girard has been watching a little too much Star Wars lately. His new production of Lohengrin, which opened at the Metropolitan Opera Sunday afternoon, reduced Wagner’s opera to a knockoff space opera, full of hackneyed sci-fi tropes and B-rated futurist apologue.
It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.
It’s back to business as usual at the Met, for better and for worse.
Turandot finally arrives on Trove Thursday, but it’s the setting by Ferruccio Busoni which predates by a decade the one by that other Italian guy, and it’s paired today with Arlecchino, the composer’s other commedia dell’arte-influenced short opera.
Happy New Year, dear readers, from me, Callum, and Christine Goerke’s headband-tiara!
Lise Davidsen turned in a fine performance Saturday, cementing her up-and-coming star status in an eclectic program given from the Oscarshall Palace in Oslo.
Such a sleek, polished finish is a testament to the incredible resources and experience at the Met’s disposal – to coordinate this livestream across two different continents so seamlessly and with such flair is very impressive indeed.
There were plenty of Turan-do’s and only a few Turandon’ts at the Met’s Turandot Sunday afternoon.
Cycle II represented an embarrassment of musical riches.
At the Metropolitan Opera’s Götterdämmerung on Saturday afternoon, the fires which consumed the Gods burned lukewarm.
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
Die Walküre crystallizes the cycle’s questions, ideas, and stakes.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall.
Two months after my last visit to this season’s sixteen-performance run of Puccini’s Turandot, I returned eager to witness the latest chapter in the sporadic Met career of Nina Stemme. Rising stars Anita Hartig and Alexander Tsymbalyuk also appeared in their roles for the first time at the Met, so Monday evening turned into a […]
On Thursday evening Jennifer Wilson “finally” made a belated, disappointing Met debut as Turandot.
Would exciting American dramatic soprano Christine Goerke be the next great ice-princess we have been waiting for?
The simple fable at the heart of Die Frau ohne Schatten shouldn’t be difficult to parse, but Hugo von Hofmannsthal’s libretto juggles its vaguely Jungian, vaguely Arabian Nights symbolitry as if with intent to mystify and bewilder.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.