I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
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.
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.
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.
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
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.
Cycle II represented an embarrassment of musical riches.
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
One needs liberty in order to be a libertine.
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.
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.
It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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