Little girls get bigger every day
Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
27 pieces since 2012 — in 17 roles, at 6 companies, most often at Metropolitan Opera.
10 pieces as Metropolitan Opera — stats above show all coverage for Elza van den Heever.
View allElza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
A recent conversation with a friend who has loved Die Frau ohne Schatten for twice as long as I have been alive revealed that we both had some unresolved questions about the plot.
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
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.
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Yannick Nézet-Séguin and the Metropolitan Opera Orchestra reigned supreme at the opening night of Wozzeck on Friday evening, rendering every snarl and shimmer of Berg’s score with gripping intensity.
At the Metropolitan Opera on Saturday night, Mozart’s opera never sounded fresher, a superstar cast shining new light on one of the composer’s all-too-seldom-performed scores.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.
It’s easiest to write reviews when there are soaring triumphs and miserable failures.
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