An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
It’s not so much that I hated the Met Opera’s Grounded. I’m just not convinced that it should have been an opera.
As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
Her star is indeed on the rise, but squarely on her terms.
Chopping up the action and dutifully showing each plot point may work in a film but in an opera, where every piece of marginal dialogue must be set to music, it feels like a chore.
Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
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.
Heretofore I’d avoided the Met’s abridged, English-language holiday presentations.
Without fail, all nine finalists had nice clear ringing voices. Whether they develop into great artists is another question.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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