My takeaway from this evening is that I want to hear a lot more from Amber Wagner.
“Semiramide—a better opera than this dude expected!”
I was extraordinarily happy Monday evening to encounter Angel Blue and Russell Thomas as Mimi and Rodolfo.
From the perspective of current identity politics, Puccini’s Turandot is a disaster of epic proportions.
At the center of the Met’s revival of Puccini’s La bohème, one found the rich and layered talent of Angel Blue.
Arabella with Wolfgang Sawallisch conducting a prime-time 1980s Munich cast.
The second half of Warner Classics’ Maria Callas Live Remastered set represents the years 1954 to 1964 in the career of La Divina.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Since no doubt the New York contingent of the cher public are already shuddering in anticipation of a Kristine Opolais Tosca as a “gala” New Year’s Eve treat, La Cieca thought you might enjoy—again, surely too strong a word—a preview of sorts.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Mortality is ugly—it smells, it makes uncomfortable noises, it takes its time; and then there is the overwhelming sense of dread and helplessness.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
>What does a great opera production do, and what does a bad production fail to do?
At the election-eve Jenufa at the Met, Trumpism made an unexpected, if timely appearance.
Falstaff, Verdi’s totally unexpected, final, great comedic roar.
Sometimes when you find the club that will have you as a member, you do not easily give up your spot.
Trove Thursday” presents Béatrice et Bénédict in a 2009 performance featuring Joyce DiDonato and Charles Workman and conducted by Sir Colin Davis.
Two months after my last visit to this season’s sixteen-performance run of Puccini’s Turandot, I returned eager to witness the latest chapter in the sporadic Met career of Nina Stemme. Rising stars Anita Hartig and Alexander Tsymbalyuk also appeared in their roles for the first time at the Met, so Monday evening turned into a…
Maria Agresta‘s delicately-acted, sumptuously-sung seamstress transformed what might have been just an average Wednesday night revival into something finer.
The most recent Egyptian voluptuary of 2006 by our friend Franco has now been replaced by the most singularly spartan production of Verdi’s masterpiece I think I’ve ever seen.
On Thursday evening Jennifer Wilson “finally” made a belated, disappointing Met debut as Turandot.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
With help from the Met’s invaluable performance archive, here is a look back at just some of what you could have seen, and perhaps did see, on October 31st through the years at the Met.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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