Semper Fidelio
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
50 pieces since 2006 — in 17 roles, at 8 companies, most often at Metropolitan Opera.
17 pieces as Metropolitan Opera — stats above show all coverage for René Pape.
View allFidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
A snarky commentator might dub last night at the Met “Boris of the divo hair flip” but that would do a disservice to a serious, often effective performance of the challenging original version of Mussorgsky’s masterpiece.
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
I was greatly anticipating Karita Mattila’s recital on Friday in Toronto’s Koerner Hall.
There is something so very Don Draper about René Pape .
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.
I am grateful to Sony for this new release of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.
As with all good myths, certainly all the myths at the heart of Wagner’s operas, the juggling of symbols and archetypes and themes in Parsifal opens the piece to a great variety of interpretations.
When Mikhail Gorbachev assumed the mantle of the General Secretary of the Communist Party of the Soviet Union in 1985, a palpable change was felt in the air, from Novosibirsk to East Berlin. Words like glasnost (openness) and perestroika (restructuring) began to replace the gradually outmoded Leninist philosophies that had become warped under Stalin and Andropov.
It is, as Noel Coward remarked, astonishing how potent cheap music is. According to Brockway and Weinstock’s World of Opera, Gounod’s Faust was performed, after a rather lackluster debut in 1859, a thousand times inParis at the Opera between 1869 and 1894—a gobsmacking average of once every nine days.
You perhaps will not be completely flabbergasted that La Cieca has a spy following the Met’s Japan tour (pictured). The reports thus far (I mean, once the ragtag band of misfits finally landed in the Land of the Rising Sun) are not particularly scandalous, but, please give our operative time!
La Cieca presents an open letter from a parterre box reader.
Our Own Gualtier Maldè reports: The Met’s orchestra and audience have found a new conductor to love: Daniel Barenboim.  The debutante conductor got a huge ovation before he even lifted his baton. Lots of applause for Danny B. all night from an adoring audience including a generous amount at his final bow. There was lots of touchy feely […]
11:40: Then Rene Pape matched Hvorostovsky, then Zajick matched (topped?) them both, then who the hell had the idiotic idea of doing the Easter Hymn with a mezzo who can’t sing it and the chorus apparently stoned or else in another city? (Oh, and did you notice the long, noisy scene change afterward? Vintage Volpe.)11:05: […]
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.