A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
Here’s an update for those keeping up with the Lohengrin casting sweepstakes at the Met.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.
Conducted by Riccardo Frizza; starring Renée Fleming, Lawrence Brownlee, John Osborn, Barry Banks and Kobie van Rensburg. Transmitted live on May 1, 2010.
A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.
It was quite a pleasure—a privilege, really—to see John Dexter’s legendary production of Poulenc’s Dialogues des Carmélites.
Academy of Vocal Arts’ Rusalka—surprisingly, only their second venture in many years into the Slavic repertoire—left a divided impression.
The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
Lucia di Lammermoor, a bloody story of a young woman’s mental degeneracy amidst feuding families, remains Donizetti’s most popular exploration of the landscape and culture of Britain.
Der Rosenkavalier (on Blu-ray and DVD) is from the Met HD broadcast which also happened to be the final performance of the run, becoming a true souvenir of the farewells of its two leading ladies.
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
Ana Maria Martinez’s tremendously impressive Cio-Cio-San dominated the season premiere of Puccini’s Madama Butterfly at the Met.
New York City isn’t a bad place to live, operatically-speaking.
For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.
The hostile reaction to the Mary Zimmerman production of La sonnambula was well documented after the premiere in 2009.
If it wasn’t anything special as art or even entertainment, Lyric Opera of Chicago’s recent production of Rinaldo (March 24) does offer an excellent peg on which to hang an argument about the future of opera in America.
The premiere of Mary Zimmerman’s production of Giacomo Gioachino Rossini’s Armida was arguably the most controversial event of the Metropolitan Opera’s 2009-2010 season. The performances represented Armida’s first run at the Metropolitan Opera and had been commissioned at the behest of mega-diva Renée Fleming. The soprano had scored a triumph in concert presentations of the…
1817 was a fertile and diverse time for 26 year old Gioachino Rossini. It opened with his last true opera buffa, La Cenerentola, continued with his most important semiseria, La gazza ladra, and ended with two operas, which, although both nominally belonging to the seria genre, could not be more different from each other.
Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:
Let me take you back, Parterreians, to the spring of 2009. Shortly before the Met’s new La sonnambula opened, murmurings began to be heard, rumors began to circulate. After the open dress rehearsal, reports were filed as opera fans looked on in horror. At the première, a shell-shocked audience rained down boos on the production…
It’s no easy easy task to “re-review” one of the most discussed and scrutinized opera productions of the last few years. Mary Zimmerman’s mise-en-scène of Donizetti’s Lucia di Lammermoor has been extensively examined since it was chosen to inaugurate the 2007/08 season of the Metropolitan Opera, provoking very mixed reactions both from the professional critics…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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