Because of the coronavirus pandemic, the Metropolitan Opera announced today that the company has canceled the remainder of the 2019–20 season, which was to have ended on May 9, 2020.
By La Cieca
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A Saturday afternoon iteration of this season’s ubiquitous revival.
By La Cieca
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).
By La Cieca
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.
By La Cieca
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.
A performance from Fall 2019 featuring Lisette Oropesa and Michael Fabiano.
By La Cieca
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.
By La Cieca
Amanda Woodbury jumps in as the Countess in tonight’s broadcast.
By La Cieca
One final hearing of the Berlioz this afternoon.
By La Cieca
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.”
By La Cieca
Michael Spyres as Faust, despite a few flickers of indisposition, was nearly ideal.
One last trip to Catfish Row (for now) this afternoon.
By La Cieca
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.
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!”
