Cher Public

Bringing up Bondy

Is it not enough that the more ignorant segments of the public and the critical establishment continue to shout praise to David McVicar‘s torpid Tosca as the greatest triumph of the reactionary since the Bourbon Restoration? Must we also endure the smug smirking of the likes of Justin Davidson, who yet again has leapt at the opportunity to kick the cold corpse of Luc BondyRead more »

Better call Gaul

“Is this what they call a ‘textured’ performance?”

A gnawing sense of déja vu kept invading my thoughts during the second half of Bellini’s Norma Monday evening: I was reminded of the Met’s Opening Night two years ago when the audience got a new dark, dull Otello that didn’t at all improve on the production it was replacing.  Read more »

Screen queen

Devereux 4This season’s Met Donizetti Tudor Trilogy concluded with Roberto Devereux, given its penultimate performance by HD transmission Saturday, April 16. It is good to see these works finally given here; they are too important, too crucial a part of the operatic repertory to have been ignored for as long as they have.  Read more »

The chopping block?

After five flops in a row, Mr. McVicar continues to win new assignments from the Met.

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I want your Essex

During its first-ever Roberto Devereux Thursday evening one felt transported back to the Volpe years: four of the Met’s biggest stars shining in an opulent (if occasionally perverse) but reassuringly non-challenging production paid for by Sybil B. Harrington.

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Sul tuo capo la scure già piomba

David McVicar, on his knee, with… Mariusz Kwiecien during a rehearsal.”

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Queen for a D

Friday’s season premiere at the Met of Donizetti’s opera about the doomed Scottish queen proved surprisingly satisfying and a genuine success for Sondra Radvanovsky.

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Wahn for a day

Die Meistersinger is a bold stroke of programming, in a not particularly exciting way.

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