Sondra Radvanovsky returned for her 29th Met Aïda Thursday night (but only her second Aïda.)
You’d want to expect that every Met retread would draw the same curiosity, the same large crowds, to Lincoln Center.
I was shocked to realize I hadn’t seen Don Giovanni at the Met since Michael Grandage’s stultifying production opened in 2011.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
The Canadian Robert Carsen would appear to love the theater to the point of fixation.
After nearly three years and over 20 performances Michael Mayer’s “Las Vegas” production of Rigoletto at the Metropolitan Opera still outrages many.
You may remember, gentle readers, that last year about this time Peter Gelb decided to enter into an unholy alliance with Target to benefit their mountainous number of opera loving customers by pre-releasing two Met performances exclusively in their fine emporiums.
It was indeed a curious sensation making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in…
Lyric Opera of Chicago has entrusted their new Macbeth to Barbara Gaines, Artistic Director of the Chicago Shakespeare Theatre, whose work can be frustratingly inconsistent. She has directed the finest Troilus and Cressida and the finest King Lear that I have ever seen. Yet her recent work has been filled with wretched excess and effects…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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