Three faces of Violetta
Christopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
39 pieces since 2014 — in 11 roles, at 7 companies, most often at Metropolitan Opera.
12 pieces as Metropolitan Opera — stats above show all coverage for Nadine Sierra.
View allChristopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
Easily the Met’s new Sonnambula, where cast and production team delivered a gorgeously sung and well thought out concept for a libretto often derided for its simplicity.
Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
Rigoletto is the perfect opera. The story is straightforward and powerful; none of the action occurs backstage or between scenes or twenty-seven years before curtain rise; and the ethical anvil lands not once but twice, on the title character singing, “La maledizione!” The curse!
It’s not hard not to feel jaded about Romeo and Juliet.
Come back, Big Clock! We need you more than ever!
With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.
I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.
Saturday afternoon’s performance of Le Nozze di Figaro at the Met was awash with contradictions.
You’d want to expect that every Met retread would draw the same curiosity, the same large crowds, to Lincoln Center.
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
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