Cher Public

A very Millo sequel

“Can the Diva Who Once Ruled the Met Make a Comeback?” asks Zachary Woolfe in the New York Times, and who even needs to ask who he’s talking about?  Read more »

Side effects

“Her showboating performance on October 29, while certainly not lacking in spectacular moments, came as a sad disappointment after her ‘gripping and insightful’ Norma last season.” [Observer]

The finale countdown

In Gounod’s sentimental take on Shakespeare’s tragedy, Charles Castronovo took an elegiac approach, refining his dark, haunting tenor to delicate piano tones.

“Like most opera fans (or, let’s be accurate, opera queens) I have specialist tastes, with the soprano voice at the top of the list. But the final weeks’ offerings at the Metropolitan Opera, revivals of Lucia di Lammermoor and Roméo et Juliette might very well convert me to a tenor fanatic.” Our Own JJ catches up with the tail end of the Met season.

Panache room

“In his more than 20 seasons at the Met, tenor Roberto Alagna has sung his way from one end of the Romantic opera repertoire to the other, from Nemorino to Radamès. But last night he found his most congenial and emotionally moving role yet, the part I wager he will be remembered for in decades to come: Cyrano de Bergerac.” [Observer]

A quiet girl

“Tatiana has developed into one of Netrebko’s very best roles.”

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Leading lady

“She not only sang the difficult leading role, she also directed the opera.”

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Women beware women

Prototype: Opera/Theatre/Now presented new works in which women were variously gang-raped, eviscerated and executed by firing squad.

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Stone soup

“A case of histronic personality disorder a deux.”

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