Angela Meade, reportedly flown in at the very last minute to take on the role of Norma, absolutely triumphed, pulling out all the stops to deliver a commanding performance that should, indeed, go down in history.
On the train ride home I was thinking that I don’t want to see or hear Norma ever again.
At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
Now we find Mariella Devia, a diva held in near mythic regard due to her vocal longevity, with competing videos of two of her performances that were released, literally, on the same day.
This season’s Met Donizetti Tudor Trilogy concluded with Roberto Devereux, given its penultimate performance by HD transmission Saturday, April 16. It is good to see these works finally given here; they are too important, too crucial a part of the operatic repertory to have been ignored for as long as they have.
During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.
Joyce DiDonato is taking her Mary Stuart on the road, so to speak.
There’s that old joke; What’s the difference between opera and sex? Punchline; you can have good sex.
It’s easiest to write reviews when there are soaring triumphs and miserable failures.
UPDATE: A video preview of the new Elisir follows the jump.
Deutsche Grammophon has just released Anna Netrebko: Live at the Metropolitan Opera, a CD with 11 excerpts recorded live from her Met performances from 2002 through 2010. Released to feature the soprano just prior to her opening in the Met’s Anna Bolena, the CD features Netrebko singing solo arias as well as duets with such…
Three of the Met’s most cunning vocalists, Juan Diego Flórez, Joyce DiDonato and Diana Damrau, wrap their tongues around the trio from Le Comte Ory.
It took the Metropolitan Opera decades to catch up with the rest of the world and finally stage La Cenerentola. Gioachino Rossini’s opera buffa, one of his most beloved and accomplished works, received its belated Met debut in 1997, amidst legitimate suspicions that the new production was less a genuine desire to add a belcanto…
Last night’s season premiere of Norma at the Met restored Bellini’s opera to musical and vocal distinction but the dramatic fire was burning only fitfully. Hasmik Papian is a hugely experienced Norma who some consider to be the best contemporary exponent of the role. But the key word here is contemporary not best. Her voice…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.