Tremens factus sum ego
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
Dmitry Belosselskiy
13 pieces since 2016 — in 9 roles, at 2 companies, most often at Metropolitan Opera.
13
pieces
9
roles
2
companies
11
years
By role
By company
Role basso soloist
Role Commendatore
Strangers in the night
One needs liberty in order to be a libertine.
Role Daland
Die Frist ist Glum
This Holländer offers neither a clear narrative vision for the work nor a sense of turbocharged drama; it simply sits on the Met’s cavernous stage as a dull gray mass.
Role Fafner
Something With a ‘Ring’ to It
Cycle II represented an embarrassment of musical riches.
Teenager in love
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
Role Old Convict
Singing for herself and the boys in the band
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
That with music loud and long
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
Role Old Hebrew
Shorn yesterday
For opening night 2018, the Met offered the creaky but appealing biblical epic Samson et Dalila, presumably as a vehicle for Elina Garanca and Roberto Alagna.
Role Ramfis
Can you dig it?
I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
Mortal raises veil from before goddess’s face
Anna Netrebko is the greatest performing artist singing opera today. Nobody else comes close; she makes me love her in a way that verges on the erotic.
Role Wurm
Cabal me by your name
It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.
Role Zaccaria
Turn and face the strange
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
By Jehovah!
When Maestro Carlo Rizzi lifted his baton and began leading the Lyric Opera Orchestra in a stirring, detailed account of the overture to Nabucco, the electrified audience knew we were in for an exciting evening of music making.
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