Three faces of Violetta
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
69 pieces since 2008 — in 18 roles, at 8 companies, most often at Metropolitan Opera.
20 pieces as Metropolitan Opera — stats above show all coverage for Diana Damrau.
View allChristopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
It’s not hard not to feel jaded about Romeo and Juliet.
Michael Mayer‘s production of La traviata at the Met is so timid, so devoid of insight, so cynically pandering and gaudy that I hardly feel like it even matters what I think of the performances of the current cast.
Diana Damrau‘s performance as Violetta was the work of a very ordinary artist, one susceptible to vocal flubs, poor intonation, and an all too banal approach operatic performance.
Alexander Birch Elliott‘ s dynamic if gauche Zurga added some pizzazz to an otherwise bland evening.
Pretty Yende was still hanging around after her last Barbiere and she knows the role of Elvira, having sung it in Zurich last June.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
The Met ushers out this wretched year and rings in the new with an elegant and effective new production of Charles Gounod’s Roméo et Juliette.
Returning after 99 years for the Met’s annual New Year’s Eve gala, Bizet’s youthful exercise in Orientalia Les Pêcheurs de Perles proved a real crowd-pleaser.
New York City isn’t a bad place to live, operatically-speaking.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
The legions of New York opera buffs who now can’t talk about anything but Javier Camarena will be happy to know that there’s now a DVD release of their new favorite tenor in Rossini’s Le Comte Ory available.
That’s the exact word I’d use to describe Olga Peretyatko’s debut in I Puritani last night at the Metropolitan Opera: “calm.”
The hostile reaction to the Mary Zimmerman production of La sonnambula was well documented after the premiere in 2009.
L’elisir d’amore, Donizetti’s evergreen comedy about young love, returned to the Met last night with a strong cast, a high energy level from all the performers, and last but not least, a very full house.
Three of the Met’s most cunning vocalists, Juan Diego Flórez, Joyce DiDonato and Diana Damrau, wrap their tongues around the trio from Le Comte Ory.
Diana Damrau joined James Levine and the Met Orchestra at Carnegie Hall on Sunday afternoon for one of Levine’s typically overloaded – er, generous – orchestral feasts. But this deeply involving marathon of German warhorses rewarded those who would submit to its somber, festive intensity.
It’s no easy easy task to “re-review” one of the most discussed and scrutinized opera productions of the last few years. Mary Zimmerman’s mise-en-scène of Donizetti’s Lucia di Lammermoor has been extensively examined since it was chosen to inaugurate the 2007/08 season of the Metropolitan Opera, provoking very mixed reactions both from the professional critics […]
New Kid on the Plaza Drammy writes: April 9, 2009. A traditional Otto Schenk production featuring Diana Damrau as Gilda and who cares but.. Frizza conducting, Viktoria Vizin as Maddalena, Calleja as the Duke, Frontali as Rigoletto, Aceto as Sparafucile. Stellar performances from the entire cast, excepting poor Mr Frontali. The set was phenomenal – […]
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