On February 12, 2019, the Metropolitan Opera opened this season’s run of Giuseppe Verdi’s “Rigoletto.” Michael Mayer’s production transports this tragedy to 1960s Las Vegas, a setting which merges together the glamor of high society with its seedy underbelly, just as many of the characters exhibit traits of both nobility as well as depravity. Despite the connections one can rightfully {…}
“Moby Dick” wasn’t a hit in Melville’s day. Instead, the author remained a customs officer until his death, his literary genius living mostly underground and his epic masterpiece under wraps until the 20thcentury, when it was “discovered.” Composer Jake Heggie and librettist Gene Scheer’s opera “Moby Dick” has conversely sustained more success from the outset and this continued as their {…}
We all know that opera is a very complex art. The plot, music, libretto, directing, singing, acting, stage design — these are just basics. But there are even more layers, which make opera so impressive and breathtaking. With the help of your imagination, you can easily picture this in your mind: richly decorated stage, great singers, large orchestra under Maestro’s {…}
Set in a provincial Russian town close by the Volga River, the basis for Janáček’s “Káťa Kabanová” – Alexander Ostrovsky’s play “The Storm” – invites the color palette of a murky staging; a cerulean hue or olive green to mirror the portentous themes that percolate the sometimes dissonant, sometimes harmonious and sinuously changing score. Unlike many opera settings, the visual {…}
This review was written as a collaboration between David & Francisco Salazar for the performance on Feb. 7, 2019. Over the course of five months the Metropolitan Opera has shown everything from Verismo, French, Classical, Contemporary, Russian, Hungarian and German opera; there has also been a solid abundance of Verdi opera. What has sorely been missing are works that have {…}
Watching how baritone Thomas Hampson and bass-baritone Luca Pisaroni worked together in their recent “No Tenors Allowed!” recital at Jordan Hall as part of the Celebrity Series of Boston, one thing became quite obvious – a great recital might be a singing-actor’s best possible forum for expression. For some context, I saw Pisaroni in the Met’s recent production of “Don {…}
The return to New York of Aprile Millo, on an unbelievably frigid night, was both recital and celebration, where the packed-house audience soon forgot their shivers, radiating so much warmth towards the artist on stage. Millo’s highly anticipated recital – produced by the always-interesting New York City Opera — was her first concert in the city in nearly a decade. {…}
Sentimentality is possibly one of the most dishonest emotions we, as human beings, experience. It is also a destructive force in that it inserts a filter between reality and our perceptions, we cease to see the world as it is, but rather allow ourselves to construct a self-indulgent version, in which our feelings are deliberately accentuated or even completely manufactured, {…}
Most musicologists concur that Handel did a major cut and paste job on “Rinaldo,” as more than two thirds of the score was cribbed from earlier compositions. There are also three versions of this tremendously successful opera from 1711, 1717 and 1731. Depending on singers’ availability and vocal condition, innumerable nips and tucks occurred at almost all 53 performances during Handel’s {…}