Third leg
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.”
The mothership and mecca of opera in America—and home base for Parterre Box.
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.”
“Baritone Thomas Glass will sing the role of Starbuck in tonight’s performance of Jake Heggie’s Moby-Dick, replacing Peter Mattei, who has withdrawn due to illness.”
A 2010 broadcast documenting Yannick Nézet-Séguin‘s Metropolitan Opera debut performances
Leonard Bernstein conducts a performance recorded in New York in 1964
The Metropolitan Opera has revealed its upcoming season.
Jessye Norman sings the title role of a performance recorded in New York in 1985
George London and Leonie Rysanek lead a performance from 1960
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
Renée Fleming leads a performance recorded in New York in 2007
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
A performance recorded last fall in New York
I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
An archival performance from 1982 recorded in New York
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
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