Sexual orientalization
An impressive cast blurs binaries as John Adams‘s ambitious Antony and Cleopatra arrives at the Met
38 pieces since 2012 — in 18 roles, at 10 companies, most often at Metropolitan Opera.
15 pieces as Metropolitan Opera — stats above show all coverage for Elizabeth DeShong.
View allAn impressive cast blurs binaries as John Adams‘s ambitious Antony and Cleopatra arrives at the Met
“I come, I come! ye have called me long;
I come o’er the mountains, with light and song”
“The mystery of her voice gripped my soul,” Sharpless tells Pinkerton at the beginning of Puccini’s Madama Butterfly. One could say the same thing of Aleksandra Kurzak’s remarkable portrayal of the title role, the main reason to catch the Met’s latest revival.
On this day in 2008 the Metropolitan Opera presented a gala new production of Puccini’s La rondine.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
I find it difficult to experience Madama Butterfly without also experiencing an odd fracturing of the self.
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
While she brought many exceptionally appealing qualities to her portrayal, Ermonela Jaho’s slender soprano often struggled to cope with Puccini’s demanding music.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
From up close, the miked opera singer can be a bit tough to take.
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Unlike my friend Greg Freed, who entertainingly wrote of his ambivalence about seeing Il trovatore in a movie theater this season, I have embraced the Met Live in HD transmissions as a part of the modern operagoing experience.
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
I completely missed The Enchanted Island during the Met’s 2011-12 season, both in the house and in the HD presentation. Even on Sirius, I had only heard snippets of the performance.
The New Year’s Eve gala at the Met ushering out 2011 was the world premiere of the much-anticipated mash-up The Enchanted Island AKA “baroque opera for those who hate (or at least don’t know) baroque opera.
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