An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music. The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.
From the technical standpoint San Francisco Opera’s Billy Budd was pretty much flawless.
I hardly know where to heap my praise first.
Bellini’s Norma Monday evening didn’t at all improve on the production it was replacing.
Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.
As a whole, the evening seemed forced and a bit dispiriting.
Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Opera’s Scottish enfant terrible David McVicar has applied his considerable skills in this 2011 Glyndebourne production of Die Meistersinger, the result being a refreshing new take on a familiar warhorse.
There’s nothing like a good performance of Verdi’s Macbeth and here is proof positive because this dvd is (almost) nothing like a good performance.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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