Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
The Met’s revival of Turandot on Saturday night was surprisingly contentious.
At tonight’s performance of Aida at the Met, the Triumphal Scene horses suddenly panicked and tried to bolt from the stage. I can’t say I blame them.
Too bad, then, that this season’s tossed flower was a bit of a wilted one.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Aida certainly has its longueurs.
Today’s offering is an electric performance of Verdi’s early potboiler Attila conducted by Giuseppe Sinopoli.
A “lone voice in the wilderness” booed Barbara Frittoli’s calamitous Nedda.
This is the tenth season of the Met’s HD broadcasts, not that I would know it.
A clearly moved Hvorostovsky basked in the moment and momentarily broke character to acknowledge the love.
You perhaps will not be completely flabbergasted that La Cieca has a spy following the Met’s Japan tour (pictured). The reports thus far (I mean, once the ragtag band of misfits finally landed in the Land of the Rising Sun) are not particularly scandalous, but, please give our operative time!
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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