A Saturday afternoon iteration of this season’s ubiquitous revival.
While last year’s finals were dominated by early nineteenth-century bel canto arias, this year’s finalists took on a remarkably broad range of music from a variety of repertoires.
I never imagined I’d see such a rote park-and-bark Wagner production created in 2020!
After tonight’s dark drab dud of a Dutchman, I was plunged into despair.
Wagner’s early masterpiece returns to the Met conducted by Valery Gergiev (not pictured).
The season’s second cast delivered a satisfying, if not transcendent, La Traviata at the Met last night as they struggled to emerge from piles of jewel tone brocade and gold filigree.
Believe it or not, it’s the final Nozze of the Met’s 2019-2020 season.
Saturday’s performance of Così fan tutte demonstrated that even the cool, acerbic wit of Mozart’s most controversial comedy can warm our hearts in these icy winter months.
New productions of Aida, Die Zauberflöte, and Don Giovanni and Met premieres of The Fiery Angel and Dead Man Walking headline the Metropolitan Opera’s 2020–21 season.
Amanda Woodbury jumps in as the Countess in tonight’s broadcast.
One final hearing of the Berlioz this afternoon.
Handel’s biting Agrippina finally arrived at the Metropolitan Opera Thursday evening 310 years after its Venetian premiere.
Is there any opera more bullet-proof than Le Nozze di Figaro?
“Evgeny Nikitin will sing the Dutchman in all performances of the Met’s new production of Wagner’s Der Fliegende Holländer, replacing Sir Bryn Terfel, who withdraw last week due to ankle surgery.”
Michael Spyres as Faust, despite a few flickers of indisposition, was nearly ideal.
One last trip to Catfish Row (for now) this afternoon.
Elina Garanca’s glorious Marguerite transformed La Damnation de Faust into the Met’s first essential must-see of the year.
At the Metropolitan Opera on Friday night, an otherwise undistinguished Traviata was salvaged by an astonishing performance from Aleksandra Kurzak, whose Violetta was an incontrovertible triumph.
Musical comedy on a gloomy Saturday afternoon.
Although the gold glitter cannons detonated at the end of the act were an ostentatious reminder that this was a celebration of the new year, it seemed that the only words on anyone’s lips as the audience filed out of the theater were “Viva Netrebko!”
Cher public, let’s ring in the New Year in the most “Metropolitan Opera” way possible: lots of Puccini and extremely long intermissions!
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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