Great shakes
The little opera companies of New York are like chanterelles.
108 pieces since 2008 — at 4 companies, most often at Metropolitan Opera.
The little opera companies of New York are like chanterelles.
The three Brownies applying the final touches to a tapestry – the show curtain – depicting an idyllic landscape of Windsor before the music begins are the first indication that this productionof Falstaff does not take place in Elizabethan times.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
The American bass, a fixture of the Metropolitan Opera between 1967 and 2018, was 83.
These days a cadre of voluble opera-goers regularly issues dire warnings that anyone about to attend this or that production at the Met should close her eyes and just listen rather than witness yet another Peter Gelb regie “atrocity.”
A “lone voice in the wilderness” booed Barbara Frittoli’s calamitous Nedda.
Based on reliable reports about reshuffling of the Met’s repertoire for the 2013-14 season, the only reasonable conclusion is that James Levine will never return to conduct with the company.
Verdi’s only successful comic opera, Falstaff, is notably hard to produce.
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