metropolitan opera
In the busy café of the Elinur Bunin Munroe Film Center an intimate moment is occurring between a mother and her two children. The mother, internationally renowned soprano Diana Damrau, has brought along her children, two-year old Alexander and four-month old Colyn, for an interview with this reporter. Colyn lies in his carriage begging for his mother while Alexander bustles about space, exploring and engaging with his environment. Damrau looks after Alexander as she picks up Colyn from the carriage and for the next hour, the superstar soprano will engage in animated conversation while keeping her two greatest treasures near.
The Metropolitan Opera House announced its 2013-2014 season which featured a wide range of repertoire.
The season will open with a new production of Tchaikovsky's "Eugene Onegin" by Deborah Warner. Anna Netrebko will headline the opening night season for the third straight time in the role of Tatiana. Mariusz Kwiecien will sing the title role while Piotr Beczala will sing the role of Lensky. Russian conductor Valery Gergiev returns to the Met pit. The opera will be sung with a second cast in November with Peter Mattei in the title role and Marina Poplavskaya as Tatiana. Rolando Villazon will return to the Met after a four-year absence; he last sang in 2009 in Lucia di Lammermoor.
The Opera Awards selected a prestigious group of Orchestras for the award for best Opera Orchestra. Three European groups were chosen and one American was selected. The four orchestras are known for the range of repertoire and their ability to collaborate with different conductors.
Don Carlo is a long opera, but it felt eternal under the guidance of Maazel and lackluster production of Nicholas Hytner. Fortunately, the singers brought committed performances that under better circumstances would have created an unforgettable evening. For those who want great singing, there is a lot to be found in this performance, but those looking for great Verdi on his 200th birthday celebration should look elsewhere.
On Feb. 16 Opera Magazine announced the first annual International Opera Awards nominations.
Every season, I feel that there is one production where the stars align in a transcendent evening that will never be forgotten; Friday's premiere of "Parsifal" was one of those events. A tremendous superstar cast coupled with a phenomenal production elevated Wagner, the greatest star of all, to unprecedented heights. This is the most wonderful birthday present that the Met could give to the God of opera on his 200th birthday.
On Feb. 15 the Metropolitan Opera will unveil its new production of Wagner's "Parsifal."
This "Rigoletto" will surely have a fair share of detractors, but those open to new visions and willing to try something different will be pleasantly surprised by how effectively staged Mayer's production is. The singing is solid throughout and includes some truly revelatory performances. I am guilty of criticizing many modern Met productions under general manager Peter Gelb, but I am a strong supporter of this "Rigoletto." It is one of the finest achievements of the general manager's tenure.
On Monday night, the Metropolitan Opera will premier a new production of Giuseppe Verdi's "Rigoletto."
It is impossible to deny that the Met has put together another riveting and unforgettable revival with this season's "Rondine." The two principals Opolais and Filianoti bring dynamic and complex portrayals that make this one of the most dynamic and heart-breaking love stories to grace the great opera house in years.
On Jan. 11, the Metropolitan Opera will revive its production of "La Rondine." Among the stars performing in the Giacomo Puccini opera will be noted Italian tenor Giuseppe Filianoti who recently conversed with David Salazar of Latinos Post on an array of topics ranging from his history at the Met as well as future projects.
During the months of January and February, Latino opera stars Ramon Vargas, Juan Diego Florez and Erwin Schrott will take the Metropolitan Opera House by storm.
Audiences looking for a night great singing will likely enjoy "Maria Stuarda," but those looking for a transformative theatrical experience will likely feel a bit unsatisfied.
On Saturday, the Met Opera ended its run of Berlioz's masterpiece "Les Troyens" triumphantly. The performance included yet another rousing turn by Susan Graham as Didon and also showcased Deborah Voigt's passionate Cassandra. However, the night's biggest draw was the heroic performance of Bryan Hymel as the Trojan hero Enée.
