Pragmatism and ideology Pragmatism and ideology

It doesn’t get more classic than John Dexter‘s Dialogues des Carmélites.

on January 17, 2023 at 9:50 AM
Rebranding the Met Rebranding the Met

A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore.  Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.

on January 11, 2023 at 11:32 AM
Poison of interest Poison of interest

Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.

on January 02, 2023 at 9:00 AM
Rachvelishvili recedes! Rachvelishvili recedes!

Mezzo Anita Rachvelishvili has canceled all her remaining Met performances of Aida due to illness.

on December 17, 2022 at 1:56 PM
Alone in the world Alone in the world

Step aside, Texas: “Everything is bigger at Aida” is the motto of the Met’s second attempt at retiring Sonja Frisell’s colossal production.

on December 03, 2022 at 9:28 PM
We’ll always have Paris (or maybe not) We’ll always have Paris (or maybe not)

The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.

on November 05, 2022 at 9:00 AM
Don’t mask, don’t tell Don’t mask, don’t tell

The Metropolitan Opera and other classical music venue are dropping their mask requirements for audience members.

on October 17, 2022 at 2:14 PM
Take the long way Rome Take the long way Rome

David McVicar’s 2017 production of Tosca returned to the Met on Tuesday night, with an able and watchable, if not transcendent cast.

on October 06, 2022 at 8:20 PM
Ocean, thou mighty monster Ocean, thou mighty monster

Michael Spyres’s nobly moving Idomeneo wasn’t just a bravura triumph: singing strongly throughout, he brought more colors to his portrayal of the tortured king than I had experienced from others in the Ponnelle production.

on October 01, 2022 at 9:14 AM
So damn bored So damn bored

It’s nasty world, Shostakovich seems to say, where life alternates between boring and terrifying.

on September 30, 2022 at 1:38 PM
How do you solve a problem like ‘Medea’? How do you solve a problem like ‘Medea’?

Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music.  The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.

on September 28, 2022 at 3:50 PM
Romeo and Gilda Romeo and Gilda

The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.

on June 10, 2022 at 2:13 PM
Varying the song Varying the song

The opera The Rake’s Progress, as many people know already, was inspired by a series of engravings and paintings of the same name by William Hogarth, showing the decline of a young man into depravity and insanity.

on May 31, 2022 at 2:19 PM
Lucia di Lammermoor Lucia di Lammermoor

Riccardo Frizza conducts Nadine Sierra (Lucia), Javier Camarena (Edgardo), Artur Rucinski (Enrico) and  Christian Van Horn (Raimondo.)

on May 21, 2022 at 10:00 AM
Reviving a pharaoh Reviving a pharaoh

The Met brought back 2019 smash Akhnaten last night, with nearly the exact same cast and creative team, and with nearly the same knockout effect of three years ago.

on May 20, 2022 at 1:26 PM
Resisting the recognizable Resisting the recognizable

It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.

on May 18, 2022 at 2:07 PM
Stained class Stained class

With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.

on April 24, 2022 at 11:38 AM
A crazier day A crazier day

Saturday’s performance of Le nozze di Figaro at the Met mined the humor from Mozart’s divine setting of Beaumarchais’s play about a crazy day in the Almaviva household.

on April 12, 2022 at 12:00 PM
Twisted sisters Twisted sisters

Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.

on April 04, 2022 at 1:23 PM
Through different eyes Through different eyes

I was reminded at the Met’s season premiere of Eugene Onegin Friday night always to expect the unexpected.

on March 28, 2022 at 1:24 PM
Eugene Onegin Eugene Onegin

Ailyn Pérez makes her role debut as Tatiana opposite Igor Golovatenko in the title role of the urbane nobleman who rejects her, much to his later dismay.

on March 25, 2022 at 4:00 PM
Enter the queen Enter the queen

Eleonora Buratto will make her role debut as Elisabeth de Valois in Verdi’s Don Carlo in the 2022–23 season, replacing Anna Netrebko for the first five performances of the run.”

on March 25, 2022 at 12:47 PM
Soaring on multicolored wings Soaring on multicolored wings

Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi. 

on March 21, 2022 at 2:31 PM
Seria effect Seria effect

While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.

on March 15, 2022 at 10:09 AM