Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
A performance recorded last fall in New York
Elina Garanca is back at the Met for the first time since 2020 — her Amneris is, in a word, sensational.
A live broadcast from New York
A live broadcast from New York
A broadcast from 1975 celebrates 50 years since the Met debut of Beverly Sills
A live broadcast from New York
A live broadcast from New York
A live broadcast from New York
A muted and merry carousel ride out of feudalism in the Met’s production of Le nozze di Figaro
A live broadcast from New York
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
A live broadcast from New York
Hilda Harris and Catherine Malfitano in an 1981 broadcast to celebrate the 100th anniversary of Ravel‘s opera
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
The conclusion of the Metropolitan Opera’s annual competition, live from New York
Fidelio, which opened last week at the Metropolitan Opera, will always be relevant, I fear.
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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