Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.