At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
A revival of My Fair Lady at Lincoln Center makes a muddle of the show’s thoughtful elements and isn’t particularly funny either.
“Insanity is doing the same thing over and over again and expecting different results.”
Has anyone who assigned, wrote, edited or published this piece ever seen My Fair Lady?
Last night was my fourth or fifth wade into the slough of Bartlett Sher’s production of Offenbach’s Les Contes d’Hoffmann at the Met since its premiere in 2009.
After five flops in a row, Mr. McVicar continues to win new assignments from the Met.
Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan.
While the celebrity-studded, expensively-dressed audience gathered for the gala opening of the Metropolitan Opera’s 2015-2016 season seemed genuinely enthralled by Monday evening’s performance of Otello, it was more likely swept away by the power of Verdi’s genius than by Bartlett Sher’s puzzling, inert new production.
Vittorio Grigolo in the title role of the Met’s revival of Les Contes d’Hoffman is the opera version of the charming homeless drunk.
“I literally wanted to punch Sher in the face.”
No, that’s not how it’s supposed to work, Heidi Waleson.
La Cieca hears that Bartlett Sher has already signed a new three-opera deal with the Met. The director, who completes his first trifecta with next season’s Le Comte Ory, will reportedly return to the company in 2013-2014 for two productions, one of which will be that new Nico Muhly work, Two and a Half Men…
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
