review

High Notes
Editorial: Is It Time To Change How Opera Reviews Are Done? And Is It Possible?
Back on Jan. 4, I published this piece of criticism on this website. Entitled “Metropolitan Opera 2017-18 Review – Tosca: Yoncheva, Grigolo, Villaume Not Ready for Primetime,” it was clearly no ringing endorsement for the major performers of this hotly anticipated Met Opera production. In fact, it was scathing takedown in some ways of everyone involved, done in the greatest detail I could muster to support my perspective. After watching…
In Review Stage Reviews
Metropolitan Opera 2016-17 Review – La Traviata: Carmen Giannattasio, Plácido Domingo & Atalla Ayan Give Legendary Performance As Willy Decker’s Sublime Production Says Goodbye
Friday night at the Metropolitan Opera was the last time that audiences would get a chance to see Willy Decker’s production of Verdi’s “La Traviata.” The powerful vision that first came to see the light of the world in Salzburg over 10 years ago is in and of itself a long goodbye, an intricate look at how a woman says goodbye to life before she is truly ready. And like…
In Review Stage Reviews
Metropolitan Opera 2016-17 Review – La Bohème: This Is No Routine Production As Fabiano, Pérez & Co. Deliver Vivacity to Powerful Tragedy
This review is for the performance on Wednesday January 11 and is written jointly by David & Francisco Salazar. Applause rang from every corner of the Metropolitan Opera, the audience awaiting the final performer to step onstage so that she too could get her accolades. The moment Ailyn Pérez walked out of the iconic golden curtain, she was not only serenaded with applause, but with a flying bouquet of flowers.…
In Review Stage Reviews
Metropolitan Opera Review 2016-17 – Nabucco: Placido Domingo, 75, Is Still a Rockstar & So Is the Rest of the Cast
This review is for the performance on Friday, Dec. 16, 2016. Verdi’s famed overture for his first masterwork “Nabucco” starts off with a few brass calls followed by a massive explosion of sound a few bars later. From there Verdi’s music traverses the contrast between a glorious melody clamoring for peace and one of military drive. It is this contrast between war and harmonic conciliation and peace that drives this opera,…
In Review Stage Reviews
Metropolitan Opera 2016-17 Review – Salome: Patricia Racette Descends Into Insanity In Riveting Performance
Over the course of two uninterrupted hours, Strauss’ “Salome” must develop from a clueless ingénue to a passionate seductress that eventually ends up a murderous, lustful lunatic. It is the dream role for any actress, but also one that demands a grade-A star to dispatch all of its nuance and intense passions. Patricia Racette was not supposed to be the one tasked with carrying the Met’s “Salome” this season. That…
News
Metropolitan Opera 2016-17 – Salome Review Roundup: Critics Marvel At Patricia Racette’s Embodiment of Crazed Heroine
The second performance of the Metropolitan Opera’s “Salome,” starring Patricia Racette, takes place on Friday, Dec. 9. The first performance featured the Met role debut for Racette, a portrayal that earned her universal acclaim. Eric C. Simpson of the New York Classical Review wrote that “ the veteran soprano had a career night Monday, showing she still has an enormous amount to offer, both musically and dramatically, as an artist.…