The new cast at the Met suggested an alliterative retitling of Lucia di Lammermoor was needed—perhaps Lost Loonies in Love or its Italian equivalent?
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Plácido Domingo’s conducting reduced the score’s urgency to the lethargy of a jellyfish.
Najmiddin Mavlyanov will sing the role of Cavaradossi in the May 8 and 12 performances of Puccini’s Tosca.
Andrea Shin will sing the role of Roméo in tonight’s performance of Gounod’s Roméo et Juliette, replacing Charles Castronovo, who is ill.
Like Julius Caesar before her, Anna Netrebko can rightly proclaim “Veni vidi vici” about her decisive Roman victory at the Metropolitan Opera where she took on her first-ever Tosca.
Perennial diva Liza Minnelli greets legendary Disney characters including Sheriff Woody Pride, Elsa and Snow White.
Charles Castronovo will sing the role of Roméo in all performances of the Metropolitan Opera’s forthcoming production of Gounod’s Roméo et Juliette.
Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.
It’s fortunate that the Met’s production of Luisa Miller featured the incomparable Piotr Beczala in the role of Rodolfo.
Lucia di Lammermoor, a bloody story of a young woman’s mental degeneracy amidst feuding families, remains Donizetti’s most popular exploration of the landscape and culture of Britain.
As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.
La Cieca just received a package of pdf files the sender says is a copy of James Levine‘s lawsuit against the Met.
Christine Goerke‘s puzzling high register has become an increasingly troubling aspect of her singing. One just never knew what was going to come out from one moment to the next.
While she brought many exceptionally appealing qualities to her portrayal, Ermonela Jaho’s slender soprano often struggled to cope with Puccini’s demanding music.
As a diehard completist I felt guilty as the Met’s scattered, campy revival of Semiramide lumbered toward its abrupt conclusion after nearly four hours.
La bohéme returned to the stage of the Metropolitan Opera once again last night (does it ever leave?)
Accelerating his arrival as Music Director by two seasons, Yannick Nézet-Séguin will take up the post in time for the start of the Metropolitan Opera’s 2018–19 season, it was announced today.
The problem with trying to revive Semiramide today is competing with the memory of the spectacular casting lavished upon the work during the golden age of the Volpe era.
With the Met’s announcement of the 2018-2019 season approximately a week away, La Cieca thought we should review the always oracular and generally accurate Future Met Wiki.
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
Tonight, cher public, time becomes space starting at 5:55 PM and 30 Lincoln Center Plaza.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Good singing and a dramatically potent (if conservative) production were an unbeatable combination in the Metropolitan Opera’s season premiere of Donizetti’s L’Elisir d’Amore.
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