Kuda, woulda, shoulda Kuda, woulda, shoulda

A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.

Gild the Lily Gild the Lily

Lisette Oropesa, Piotr Buszewski, and Luca Salsi feature in a rote revival of Michael Mayer‘s cloying production of La traviata.

A fire sparkling in lovers’ eyes A fire sparkling in lovers’ eyes

It’s not hard not to feel jaded about Romeo and Juliet.

Reviving a pharaoh Reviving a pharaoh

The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.

A wig and a prayer A wig and a prayer

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.

A place in the sun A place in the sun

Friday evening’s Met premiere of Akhnaten was a resounding triumph and an outstanding testament to Philip Glass’s enduring operatic vision.

Kitchen confidential Kitchen confidential

Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me. 

Fleur du mal Fleur du mal

Too bad, then, that this season’s tossed flower was a bit of a wilted one.

“Tosca,” starring the Philadelphia Orchestra “Tosca,” starring the Philadelphia Orchestra

Though orchestrally lavish, this “semi-staging” delivers less theater than no staging at all.

Same steppes, different dancers Same steppes, different dancers

Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?

Doge days Doge days

That Placido Domingo and James Levine, the Met’s inexorable septuagenarians, would team up yet again—on April Fools’ Day, no less—for a revival of Verdi’s Simon Boccanegra occasioned an uncomfortable degree of doubt and dread.

No place like Rome No place like Rome

Love grand opera but wary of a six o’clock curtain with five hours of music behind it? (And nothing is grander than Berlioz’s Les Troyens, eh?) Your dilemma has been solved. Show up at the Met at 7:30 or 8:00, whenever they have the first intermission.

“They certainly spared every expense!”

I have to confess that I overheard that line during the intermission of the Met’s new production of Amboise Thomas’s seldom-performed Hamlet based on Shakespeare’s oft-performed play. I couldn’t have said it better myself.