How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
The Met’s revival of Turandot on Saturday night was surprisingly contentious.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
Blood-and-guts singing is the reason to see Nabucco at the Metropolitan Opera this season.
A “lone voice in the wilderness” booed Barbara Frittoli’s calamitous Nedda.
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…
Angela Gheorghiu‘ s idiosyncratically alluring, sometimes maddening, always fascinating Floria Tosca inevitably became the evening’s unmissable raison d’être.
At the first intermission at last night’s Met revival of Aida, I turned to my companion and said, “So… what about the Aida? I thought she was supposed to be good.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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