To be a poet is a condition
Are today’s stars enough to sustain Andrea Chénier?
14 pieces since 2013 — at 4 companies, most often at Metropolitan Opera.
7 pieces as Metropolitan Opera — stats above show all coverage for Daniele Rustioni.
View allAre today’s stars enough to sustain Andrea Chénier?
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
This Carmen, in other words, was somewhat less radical than its initial image suggested.
Verdi’s Falstaff is a brilliantly written opera: funny, with a complex ability to operate across minutely shifting registers of farce and lyricism. It needs, ideally, a production and cast capable of executing both comedy and drama, irony and sincerity—often concurrently. In its current Met revival, happily, Falstaff has everything it needs.
The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
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