Sunday afternoon’s all-Richard Strauss concert served as a de facto commemoration of the 25th anniversary of the debut of Renée Fleming, long one of the house’s biggest stars.
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.
The haunted Mycenae of Patrice Chéreau’s enthralling production of Richard Strauss’s Elektra had seized its viewers in an unrelenting vise that never relaxed even at its quietly shattering conclusion.
“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”
That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
With February 14th falling on a Sunday, there will be no Valentine’s Day Met performance this year.
La Cieca thinks she knows who the murderer is.
Live recordings of Hans Knappertsbusch conducting Parsifal seem to proliferate like stairways in M.C. Escher prints.
On his 86th birthday last month, the great Austrian conductor Nikolaus Harnoncourt announced his retirement.
Trove Thursday looks forward to spring via Haydn’s beguiling oratorio Die Jahreszeiten (The Seasons) in a splendid rendition from the 1981 Salzburg Festival with Ileana Cotrubas, Francisco Araiza and José van Dam, James Levine conducting.
One can only pray that “three strikes, you’re out” applies at the Met. If so, we can rest easy that Jeremy Sams won’t be getting any new assignments.
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.
Between them, Maria Guleghina, Marcello Giordani, James Morris and John Del Carlo have nearly 150 combined years of service on stage.
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
Simply put, Christine Goerke is a stupendous Elektra.
Although the season is less than three weeks old, Metropolitan Opera audiences may hear nothing else this season as beautiful as Peter Mattei’s “Song to the Evening Star.”
What gets me, La Cieca snaps, is not so much that Levine bit off more than he could chew, because that’s old news.
If you had told me 20 years ago that at some point in the future I would have over 550 of the Metropolitan Opera’s performances, audio and video, at my command with the touch of a button I would say my eulogy had just been read and I’d been taken to my reward.
The “manager of legendary maestros” including James Levine, died today in Manhattan. He was 87. [New York Times]
“Disciplined and intelligent.”
James Levine turns 72 this year. Even though his health has improved considerably in the past year and he may continue to conduct for a decade or more, it seems inevitable that he will step down as the Met’s Music Director sometime in the next few years to assume the role of Conductor Laureate.
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
The Metropolitan Opera desperately needed a new production of Le nozze di Figaro.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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