Turn and face the strange
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.
13 pieces since 2018 — in 5 roles, at 1 company, most often at Metropolitan Opera.
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.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
The Met’s mostly successful revivals of The Queen of Spades and La bohème showcase the returns of Sonya Yoncheva and Corinne Winters
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.
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