"Wozzeck" is not for everyone, but those brave enough to traverse its dark waters at the Metropolitan Opera will surely be hit by its complex issues and transcendent powers.
The Met Opera's new "Werther" is easily one of the most fulfilling artistic experiences that this writer has ever attended. Every detail is delivered with utmost intelligence, polish and passion and it is impossible not to be utterly transformed by it. The 2013-14 season has featured a plethora of operatic highlights, but the revival of Massenet's masterpiece may be the best of them all.
Anyone that views "Prince Igor" may find some level of frustration but Tcherniakov and company manage to imbue the work with riveting imagery and some psychological insight. One wonders if this production will ever appear again (will they have to reshoot all of the video with another singer if Abdrazakov's schedule is not able to fit in another run of the work?), which makes it essential viewing for any lover of opera or even Russian culture in general.
The Met production for this "Elisir d'Amore" may still feel unnecessary, but the singers themselves have reminded the viewer that productions do not make an opera. They do.
"Rusalka" is a glorious opera and one that should certainly be experienced, opera lover or not. Unfortunately the current Met revival is unable to deliver the dreamy and ethereal quality of Dvorak's wondrous score.
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.
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.
Despite its faults, the Met Opera's new "Fledermaus" is tremendous fun, thanks to committed performances from the cast members. The evening will be long (Saturday's performance clocked in at just under four hours), but it will provide the viewer with a surplus of unforgettable laughs and a plethora of tunes to whistle for following days and possible weeks.
