There is much to say about the similarities between the plot of Fidelio and the ancient myth of Orpheus.
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So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
The Met’s current production of Verdi’s La Traviata is something of a mixed bag.
I am, perhaps instinctively, skeptical of those who commit suicide.
An authentically reactionary revival of Franco Zeffirelli‘s sacred production of Puccini’s Tosca is the highlight of the Met’s 2017-2018 season, staged by Sir David McVicar.
The Met Casting for 2017-2018 competition closes at 10:00 AM tomorrow (Wednesday).
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Let’s call this meeting to order. My name is Patrick and I’m a boxset-aholic.
Someone—a deranged purist no doubt—heckled Javier Camarena from the balcony of the opera house for withholding the infamous high F during “Credeasi, misera.”
La Cieca (pictured) invites you all to enjoy and comment upon this afternoon’s broadcast of Rigoletto, already in progress.
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
While some once-popular Met operas have fallen into neglect in the past quarter century, Rusalka has returned regularly since its 1993 premiere.
Mary Zimmerman explains (more or less) “what’s wrong with opera audiences?”
Verdi’s Rigoletto returned to the Met Friday in the stilted “Las Vegas” production by Michael Mayer, with mostly competent singing from a good-looking cast.
The Metropolitan Opera’s revival of Carmen began with a bit of drama Thursday night when tenor Rafael Davila replaced Marcelo Álvarez.
“Clémentine Margaine will make her Met debut in the title role of Bizet’s Carmen this Thursday, January 19.”
The Met has canceled its new production of La forza del destino, which was to have been directed by Calixto Bieito.
Mortality is ugly—it smells, it makes uncomfortable noises, it takes its time; and then there is the overwhelming sense of dread and helplessness.
Beaumarchais clearly delighted in this unobtrusive realm.
Soprano Pretty Yende (soon to be a Met Rosina) guests on Stephen Colbert’s Late Show at 11:35 this evening.
The Met ushers out this wretched year and rings in the new with an elegant and effective new production of Charles Gounod’s Roméo et Juliette.
Kirsten Chambers will make her Met debut in the title role of this evening’s performance of Strauss’s Salome, replacing Patricia Racette, who is ill.
Blood-and-guts singing is the reason to see Nabucco at the Metropolitan Opera this season.
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