Tag Archives: metopera
Posted on 18 January 2015
The year 1905 saw the first production of Richard Strauss’s Salome, an opera that remains as dramatically shocking now as it did then, and Franz Lehar’s Merry Widow, an operetta that remains one of the very finest ever written. Congratulations to the Met for getting five-time Tony Award Winner Susan Stroman to put on this …
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Posted on 11 May 2014
For those who tend to go to first nights, an advantage of these Met cinema screenings is the welcome unity they provide between conductor and singers who have already performed on stage several times together. Under the baton of Fabio Luisi the singers were very much at one with the orchestra, providing Rossini’s music with …
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Posted on 15 December 2013
On stage at Covent Garden last year, Robert Carsen’s new production showed Falstaff on a horse in Act III, and though I missed that on the Met cinema screening the comedy seemed more natural than in London. There was an appearance of spontaneity, with the performers playing the whole thing in a rambunctiously convincing way, …
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Posted on 17 February 2013
The idea of Rigoletto in early 1960s Las Vegas during the days of the Rat Pack made me apprehensive, but the superb sets by Christine Jones and costumes by Susan Hilferty won me over completely. Count Monterone as an Arab sheikh, the colourful tuxedos of the men, the stylish dark green and purple of Sparafucile’s …
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Posted on 16 October 2011
This was the work that finally put Donizetti on the map. Having already produced over thirty operas in Italy, he suddenly became famous across Europe after the first performance in Milan on 26 December 1830. The first Anna was the amazing soprano Giuditta Pasta, who less than three months later created the role of Amina in La …
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Posted on 15 May 2011
The second act of Walküre is the axis about which the whole Ring turns, and I’ll restrict my remarks mainly to that part. In the first Ring opera, Rheingold, Wotan is persuaded to give up the mighty ring that he stole from Alberich. This is when the earth goddess Erda appears from the depths warning him to Flieh’ des …
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Posted on 27 February 2011
This was Gluck’s penultimate opera, and the purity of its music endows the story with enormous clarity.
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