Crazy in love
I am, perhaps instinctively, skeptical of those who commit suicide.
16 pieces since 2012 — in 6 roles, at 4 companies, most often at Metropolitan Opera.
I am, perhaps instinctively, skeptical of those who commit suicide.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
Saturday’s performance of Le nozze di Figaro at the Met mined the humor from Mozart’s divine setting of Beaumarchais’s play about a crazy day in the Almaviva household.
Beaumarchais clearly delighted in this unobtrusive realm.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
If the Arthaus Musik release of Le nozze di Figaro from La Scala feels like a slouchy revival pulled haphazardly from the video vault, the singers are certainly not at fault. Ildebrando D’Arcangelo and Diana Damrau, starring as Figaro and Susanna, are bankable stars who live up to the hype. At the podium, Gérard Korsten […]
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.
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.
A muted and merry carousel ride out of feudalism in the Met’s production of Le nozze di Figaro
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
It was odd, if not downright uncomfortable, to watch Le Nozze di Figaro at the Metropolitan Opera.
Is Manon Lescaut a cold, clinical tale of the splendors and pitfalls of transactional sex, or is it a romantic Italian opera at its most lush and melodic?
Manon Lescaut was Giacomo Puccini’s first big international success. His publisher, Giulio Ricordi, tried to put him off the project by citing Jules Massenet’s very successful adaptation just nine years previously. Puccini was intent on making the story his own, insisting, “A woman like Manon can have more than one lover… I shall feel it […]
“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”
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