For decades Bizet’s “Les Pêcheurs de Perles” was rarely ever performed. We would hear the famed “Friendship Duet” or get the occasional recording here and there, but seeing a staged performance was a thing of dreams. But now opera lovers can enjoy a live performance of Bizet’s often-ignored work from the comfort of their living rooms. Mind you, the Metropolitan {…}
izet’sThis review is in reference to the performance on Friday, March 3, 2017. With Bizet’s ever-famous score full of ear tingling music, catchy tunes, and drama-packed scenes, an evening of Carmen is a guaranteed great night at the opera, making this the perfect way for first-timers to first dip their toes into the operatic repertory. The Leads Lyric Opera’s production {…}
I preface this by stating that this review is for the performance on March 5, 2017. I would also like to recognize that this is just one performance of a seven-performance run. In an ideal situation, I would attend every performance and write a detailed review of the overall work. As it stands, I can only go on my perspective {…}
Aida Garifullina is quickly rising to stardom in the operatic world. Her career has surged in the past year as she has taken leading roles in the world’s greatest houses and has now become an exclusive recording artist for Decca Classics. For her debut album, Garifullina has chosen a program of classic Russian pieces that are meaningful to her and {…}
This review is for the performance on Feb. 20, 2017. Taking in the experience of Massenet’s “Werther” is a rather fascinating one. Not because the music is without a doubt the composer’s finest creation or because the Metropolitan Opera’s production is a dramatic home run (more on that later). It has to do with audience interaction and engagement. Who would {…}
During this weekend’s broadcast of “I Puritani,” Metropolitan Opera General Manager Peter Gelb was given the floor to talk about the company’s upcoming 2017-18 season, which was announced this past Wednesday. But instead of launching into his offerings, Gelb moved in a different direction, turning his attention toward the social-political challenges facing arts institutions. “I think it’s really important that {…}
We acknowledge that OperaWire is late to the “Rusalka” party, but here is our review for the performance on Feb. 17, 2017, the fifth performance of this run. Antonín Dvorák’s “Rusalka” is the epitome of a metaphorical operatic identity crisis. The opera, which is a grim version of Hans Christian Andersen’s “The Little Mermaid,” follows the story of a water {…}
This review is for the performance on Feb. 11, 2017. What happens when the Metropolitan Opera casts four superstars into Bellini’s final opera? The answer is golden age singing. For years “I Puritani” has been a vehicle at the Metropolitan Opera to promote the diva and sometimes has made casting uneven with little attention paid to who can sing the incredibly {…}
This review is for the performance on Friday, Feb. 3, 2017. When Sophie Koch cancelled all of her performances for Bizet’s “Carmen” at the Metropolitan Opera, attention immediately turned toward Clémentine Margaine, who was set to make her Met debut on Feb. 3. Instead the French mezzo saw her first performance at the history house pushed up two weeks. Of {…}