metropolitan opera
Elina Garanca is expecting her second child.
Opera Director Eric Einhorn talks to Latinos Post about working the world of opera.
Three productions at the Metropolitan Opera. Recipient of the Richard Tucker Award. A Carnegie Hall Recital Debut. An appearance on Sesame Street. Those are but a few of the accomplishments of opera singer Isabel Leonard during the 2012-13 season.
As the applause erupted, this writer felt a tremendous sense of nostalgia; the kind one feels after a long journey that will undoubtedly never repeat itself in the same way. More Ring cycles are surely on the way and those who have an opportunity should surely not miss out on the opportunity to experience one of the most fulfilling artistic endeavors ever. Happy Birthday Richard Wagner! The Metropolitan Opera has surely done you well.
The Wagner bicentennial celebration has been a big success at the Met. A perfect "Parsifal" in February was followed by two solid and often breathtaking accounts of "Das Rheingold" and "Die Walküre." "Siegfried" takes the celebration up a notch with a dynamic union of singers, conducting and even a production that lives up to the hype.
McVicar has had mixed results throughout his brief Met career, but there is no denying the powerful success of his "Giulio Cesare." The production is not only laden with a plethora of eye candy and entertainment, but also features a nuanced depictions of warring cultures that is very much relevant to modern day. Many people often object to the modernization of works to current times; McVicar does not bother with this pretention in the least. Instead he sets the opera in a fantastical world that brings all of history together and reminds of the transcendent quality that opera can have. The endearing cast not only validates McVicar's production, but also makes a stunning case for the increased presentation of baroque opera around the world.
Ultimately, nuanced singing, acting, and conducting in Wagner is usually enough to make up for an unsatisfying production; this was certainly the case in the Saturday afternoon performance of "Die Walküre."
This "Rigoletto" run represents the final serving of Verdi that opera goers will get from the Met Opera during the legendary composer's bicentennial birthday celebration. A vibrant production combined with nuanced and emotional performances makes this the ideal final hurrah for a truly successful commemoration of one of opera's greatest contributors and heroes.
The production is likely to continue dividing viewers and while it never feels ground breaking, it almost forces greater emphasis on the singers. Fortunately, this is a major positive as there is nothing more one could want than the splendid cast and conductor compiled by the Met. Even if the machine fails to deliver any new insight on Wagner's legendary works, the performers make up for it with their own nuanced displays. What more could the legendary composer want on his 200th birthday celebration?
On April 4th the Metropolitan Opera's new production of Handel's "Giulio Cesare" will open.
Surviving in the opera world has always been a great challenge for performers. With ever increasing competition, many singers find themselves boxed in by opera impresarios attempting to fill in schedules years in advance. The result is that many never full develop their skills or have a chance to create their own identities; the demands of the opera companies create those personas for them.
A few days ago, this writer stated that "Otello" was the ideal birthday present for Verdi's 200th anniversary celebration. The addition of "Traviata" to that moniker makes for an unstoppable one-two punch at the Metropolitan Opera that makes March a wondrous commemoration of one of the greatest composers of the opera world. Damrau's "Traviata" is mesmerizing to experience, but it will only improve as she garners more experience in the role; this fact alone makes this theatrical experience a winning ticket.
The performance showcased the ideal "Otello:" it was filled with great singing, wondrous acting, and plenty of dramatic insight and power that was riveting and revelatory. As part of the 200-year celebration of Verdi's birthday, this performance of the venerable masterpiece was a glorious present to the celebrated composer.
As he enters the stage during the dress rehearsal of Act 1 in "La Traviata" at the Metropolitan Opera, Saimir Pirgu, playing Alfredo Germont, walks across stage right to left and stands isolated from the crowd that is carrying around Diana Damrau's Violetta on a bright red couch. This outsider will eventually steal away the heart of Violetta take a prominent role in her life. This development presents an interesting parallel to Pirgu whose official website purports that he is "a young man from nowhere" well on his way to an international career.
"Francesca" offers the opera lover a rare opportunity to experience a seldom-performed gem of the repertoire. Each act lasts little over 30 minutes, making the experience all the more manageable for the uninitiated. Ultimately, the singers, conductor, and exquisite production make this a great revival at the Metropolitan Opera.
