Diva moment
Angela Meade, reportedly flown in at the very last minute to take on the role of Norma, absolutely triumphed, pulling out all the stops to deliver a commanding performance that should, indeed, go down in history.
24 pieces since 2009 — in 12 roles, at 8 companies, most often at Metropolitan Opera.
Angela Meade, reportedly flown in at the very last minute to take on the role of Norma, absolutely triumphed, pulling out all the stops to deliver a commanding performance that should, indeed, go down in history.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra Radvanovsky.
Lise Davidsen, Michael Spyres, and Yannick Nézet-Séguin are astonishing in Tristan und Isolde at the Met, while Yuval Sharon‘s new production is anything but.
Lise Davidsen‘s first Isolde is only one of the highlights of Tristan und Isolde at the Liceu in Barcelona.
Christine Goerke‘s distracted, tentative Isolde turned out to be the least potent feature of what was an otherwise exciting and effective second act of Tristan.
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion
The Bayerische Staatsoper’s Ring cycle scores another triumph with Tobias Kratzer’s take on Die Walküre.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
Wagner is becoming an important calling card for Valery Gergiev and the Mariinsky Theatre.
So, I was asking my friends with Met Opera insider connections about the new Hoffmann production directed by Bartlett Sher. Seemingly conceived under an unlucky star, this production first lost two of its four heroines when Anna Netrebko decided not sing Olympia and Giulietta but kept Antonia and also Stella, leaving the dramaturgy somewhat lopsided.
A parterre box exclusive: a live recording of Lise Davidsen‘s first Judean princess
Today is the dress rehearsal/preview of Anna Bolena at the Met, and naturally La Cieca has infiltrated the event with a veritable phalanx of spies. After the jump: all your latest Anna Netrebko related news.
My first introduction to Béla Bartók’s one-act opera Bluebeard’s Castle was the musicologist Susan McClary’s infamous book Feminine Endings. Here, McClary likened her search of a feminist musicology to Judith’s journey through the seven doors; a journey that ends in Judith’s symbolic death.
Jay Scheib’s Augmented-Reality Parsifal is a cautionary reminder that technological innovation shouldn’t absolve directors from the exacting work of deriving intelligent and fascinating theater from the source material.
Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music. The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.
A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
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