Los Angeles Opera has released the results of its investigation into Plácido Domingo.
“The Met acted quickly to cast her as Leonore in Fidelio, Chrysothemis in Elektra, Ariadne in Ariadne auf Naxos, Eva in Die Meistersinger von Nürnberg and the Marschallin in Der Rosenkavalier.”
“Tony could only sing one note and the note he sang was this…”
“Pitting the eminent conductor James Levine against the Metropolitan Opera, which fired him in 2018 amid accusations of sexual misconduct…”
“…newfound celebrity on Twitter, where she is beloved by some of opera’s most ardent fans.”
The pretty boy who got a bum rap.
When Anthony Tommasini finds more political content in the Ring than your stage director does, you’re doing it wrong.
“Robert Lepage‘s direction of a crucial scene in the Ring is even worse than Otto Schenk‘s, if such a thing is possible.”
Robert Lepage promises a more “urban” take on the work.
“Can the Diva Who Once Ruled the Met Make a Comeback?”
Our Own Joel Rozen in Slate ponders the good gay vs. bad gay politics of Zachary Woolfe‘s New York Times celebration of Yannick Nézet-Séguin.
Now, you would think nothing could please gaycentric La Cieca more than yesterday’s New York Times profile of the Met’s new music director…
“We’ve realized that, actually, the status quo is not an option if we want to survive, let alone thrive.”
“She defines ‘extra.'”
Broadway’s new Head Over Heels is anything but under committed; it’s a show with an irresistibly fun spirit and an infallibly good heart.
“I think that if it’s not [Bernstein’s] worst, it surely reflects his worst tendencies…”
At long last (and about fucking time) undisputed genius Stefan Herheim will make his Metropolitan Opera debut, staging Les Vêpres siciliennes.
A letter to the New York Times from the the company’s doughty press director Tim McKeough addresses the recent spate of running around with hair on fire about James Levine‘s artistic legacy.
In a steampunk moment, 21st century singers try on 19th century technology.
Yummy Yannick Nézet-Séguin belts out a song in a Met practice room.
Has anyone who assigned, wrote, edited or published this piece ever seen My Fair Lady?
Maestro Yannick Nézet-Séguin has been doing heavy lifting not only in the metaphorical but in the literal sense as well.
So it turns out the spin from all of Good Old Uncle John’s chums is not quite accurate after all.
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