Music Director James Levine (pictured, left) is obviously feeling well enough that he can get back to favorite pastime, i.e., making sure nobody else has a success except him.
With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.
This past week of contract negotiations at the Metropolitan Opera has been notable for the absence of any new PowerPoint presentations or fustian proclamations.
There is a truism that there are no small parts, only small singers. Last night’s Così fan tutte has made me consider another possible truism: there are no bad productions, only miscast productions.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
It’s been a bitterly cold winter in NY. When it’s bitterly cold, the air is dry.
Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop.
Before you depart the Met at the end of this season, Ms. Billinghurst, you have the chance to do some good for both the Met audience and James Levine.
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
Last night, La Cieca finally got around to watching that documentary about the rocky road to the new Ring at the Met, and she has a thought or two about this whole brouhaha.
All of the operas of Giuseppe Verdi contain music that is worth hearing and can be rewarding in good performances.
Since 2010 I’ve been reading nothing but horror being heaped upon the Met’s new Ring. It’s been like a cross between a cruise ship size buffet spread of internet snarking and a slasher film re-cast with music critics.
Based on reliable reports about reshuffling of the Met’s repertoire for the 2013-14 season, the only reasonable conclusion is that James Levine will never return to conduct with the company.
When Mikhail Gorbachev assumed the mantle of the General Secretary of the Communist Party of the Soviet Union in 1985, a palpable change was felt in the air, from Novosibirsk to East Berlin. Words like glasnost (openness) and perestroika (restructuring) began to replace the gradually outmoded Leninist philosophies that had become warped under Stalin and Andropov.
Certain opera productions become the stuff of legend as much for the circumstances surrounding the performance as for the musical results.
The Met has finally released the contents of the James Levine 40th Anniversary box sets separately for those of us who didn’t have $500 lying around.
I have been a devotee of Berlioz’s Les Troyens since I first discovered the Covent Garden recording conducted by Colin Davis.
The symbolism and themes of suffering and redemption in Parsifal have provided catnip for more than a few oddball stagings filled with Regie excesses.
This 2010 DVD
of Brecht and Weill’s Rise and Fall of the City of Mahagonny from Madrid assumes pride of place among the available video versions of the opera.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
Though the headline seems to apply a whole series of epithets to a revered critic (“Stand-In Meets Sweet Snake, Shrieky Diva, Grumpy Dad: Manuela Hoelterhoff”), the actual review of the Met’s Siegfried on Bloomberg offers more than purely comic interest. While La Hoelterhoff is no better than usual as an opera reviewer, she does briefly…
I have been tossing and turning over La Cieca’s most recent assignment for me: a CD of Wagner’s Der Fliegende Holländer based on a performance live in concert from November 13, 2010. The anxiety mainly stems from the fact that, horror to say, I am no Wagnerite. I know that sect of opera buffs has…
Five decades before the Met turned to computer-assisted planks to help tell the story of Wagner’s Ring cycle, the company stirred controversy and comment with another staging of the tetralogy. General Manager Rudolf Bing imported a stark, abstract production from the Salzburg Festival in order to secure the services of Herbert von Karajan, who not…
You may recall, cher public, that a few weeks ago La Cieca challenged you to identify the blurbs for that new picture book (James Levine: 40 Years at The Metropolitan Opera, and yes, it’s available on Amazon!) Where was I, oh, yes. Anyway, La Cieca supplied three of the back cover blurbs and you were…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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