And suddenly that name will never be the same
Christopher Corwin reviews Pablo Larraín‘s Maria
Yannick Nézet-Séguin
121 pieces since 2008 — at 7 companies, most often at Metropolitan Opera.
121
pieces
7
companies
19
years
On an evening in Roma
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
The chimes of midnight
Aside from a tour with the LSO this spring, this was, I believe, the only time Antonio Pappano would be conducting in the US this season. This made the concert at Symphony Hall a real treat.
But joys all want eternity
Maximalism was on the menu last weekend at the Philadelphia Orchestra.
Yannick pannick
The Metropolitan Opera chose the early August operatic doldrums in NYC to announce the renewal of Yannick Nézet-Séguin’s contract as music director through the 2029-30 season.
Unconscious coupling
Pelléas and Mélisande are not transparent to themselves. Which means: they each have an unconscious.
The eras tour
She can’t put her foot on the gas the way she used to but there’s still plenty of fuel in that tank.
Parable of the prodigious son
I’m old enough to remember when Yannick Nézet-Séguin could do no wrong.
It may not have been echt, but it was fun!
On June 11th, the Met Orchestra returned to Carnegie Hall with a diverse program led by music director Yannick Nézet-Séguin.
Playing in the rafters
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Women of the Hours
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Thoughts on La Gioconda: the others
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
Character is destiny
La forza del destino concluded its run at the Metropolitan Opera with a significant cast change.
A fire sparkling in lovers’ eyes
It’s not hard not to feel jaded about Romeo and Juliet.
Destiny’s child
While you may need to bring along your Dramamine, the Met’s new production of La forza del destino, does—eventually—spin fast enough to achieve escape velocity.
If you remember, then follow
How many hours of our lives are spent looking back?
Let the children come to me
It says something about Boston’s opera scene that one of the most consistently ambitious events of the opera season is a one-off performance played by the Boston Youth Symphony Orchestras.
Not with a bang
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
Christian science monitored
In any case, we probably got as good a Tannhäuser cast as could be assembled these days.
Jailhouse Roccos
Chris’s Cache wraps up November with Régine Crespin’s Chicago Leonore; two rare Met Fidelios headed by Christa Ludwig and Hildegard Behrens; and a concert performance with Birgit Nilsson led by Leonard Bernstein, plus a final twist: excerpts of Carol Vaness in Leonore.
Let the river run
In its Met premier, neither a talented cast nor some beautiful musical moments were enough to make Florencia feel new or vital.
Tremens factus sum ego
One got a sense that the Met and the maestro directed most of the rehearsal and preparation toward the opening night premiere of the Heggie opus
Nun of a kind
“None of that sentimental crap, okay?”
A winner and new ‘Champion’
To paraphrase Terence Blanchard’s Champion, what makes an opera an opera?
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).