opera
Opera Singer Angela Meade speaks with Latinos Post about singing at the Met and her forthcoming Italian debut.
Latinos Post interviews Brazilian Baritone Paulo Szot.
Yes, this is an enormous review and fittingly so considering the work's title character and Carsen's emphasis on indulgence throughout his production. The production is stellar in its attention to detail and in Carsen's ability to fill every single moment with something. Not even the minor gripes in the final act are enough to dissuade one from believing that this is a masterpiece of stage direction. The cast is fascinating in every conceivable way while James Levine's expert hand only adds to the magic of the evening. This "Falstaff" is one of the finest productions of general manager Peter Gelb's tenure and the perfect way to end the 2013 bicentennial celebration of Verdi's immortal genius.
Earlier in 2013, Latinos Post interviewed opera star Lisette Oropesa in anticipation of her performances at the Metropolitan Opera in Verdi's Rigoletto and Wagner's Siegfried. Since that interview, the soprano has engaged in a number of diverse performance opportunities, traveled to Santa Fe for the first time in her life, performed a new operatic role, performed at her Alma Mater and even made her name outside of the world of opera. Oropesa spoke with Latinos Post earlier this week to recap what has been a terrific year and preview her upcoming performances at the Met in Verdi's Falstaff.
It might seem a bit soon to revive a production just months after its premiere, but the new cast makes this "Eugene Onegin" worthwhile in every respect.
Despite the conductor's shortcomings, this revival of "Rigoletto" should not be missed by any means. Hvorostovsky gives arguably the most memorable interpretation of the role at the Met in the last two decades while Lungu adds a dramatic vocal depth to Gilda that is uncommon. Polenzani's beautifully sung Duke rounds out the trio admirably and sets up the audience member for an unforgettable rendition of Verdi's middle period masterwork.
"Die Frau ohne Schatten" is tough on a textual level in that not every symbol or idea will be grasped with facility. However, Strauss' sweeping lyricism as portrayed by Jurowski and the terrific cast coupled with Wernicke's stellar production make attending this opera arguably one of the great events of the Metropolitan Opera's 2013-14 season.
While the production has its deficiencies, the overall experience of the Met's "Midsummer Night's Dream" is engaging and magical in every possible way.
Opera Director Eric Einhorn talks to Latinos Post about working the world of opera.
While his masterpiece "Porgy and Bess" is a modern-day favorite, George Gershwin's first opera "Blue Monday" rarely gets a chance on any stage around the world. The main reason is because the work, approximately 25 to 30 minutes in length, is too short to justify performance on its own. However, the Harlem Opera Theater overlooked this inconvenience and gave a terrific representation of this fine work for three evenings at the Cotton Club in New York City. This reporter attended the second performance on June 19.
Natalie Dessay will quit opera after a 33 year career.
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.
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.
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.
The Russian Soprano Anna Netrebko made her long awaited Chicago Lyric Debut in the title role of Puccini's 'La Boheme."
