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.
28 pieces since 2017 — in 8 roles, at 5 companies, most often at Metropolitan Opera.
11 pieces as Metropolitan Opera — stats above show all coverage for Rosa Feola.
View allChristopher Corwin surveys the three Traviata casts — led by Lisette Oropesa, Rosa Feola, and Ermonela Jaho — at the Met this spring.
An uneven new cast can’t dim the glow of Richard Eyre‘s incisive Le nozze di Figaro at the Met
For me, Fedora is the perfect opera
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
The main reason to see this revival is Benjamin Bernheim’s Duca.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
Rosa Feola immediately established with her first group that she’s a serious artist who brought to the concert format both a warmly appealing coppery soprano as well as detailed and savvy dramatic instincts.
We are the elusive, the mysterious, the ever-courted Millennial Audience, Mr. Darcy to the marketing department’s Mrs. Bennet.
Friday night’s Rigoletto at the Metropolitan Opera revealed once again a predictable dissonance between the performances on stage and Michael Mayer’s production.
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