Rolando Villazón opens up about his production of La sonnambula, how he develops characters, and what makes opera dance.
A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
And is this ‘Orpheus’ in the room with us right now?
This Carmen, in other words, was somewhat less radical than its initial image suggested.
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
Too bad, then, that this season’s tossed flower was a bit of a wilted one.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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