On Friday April 25, Javier Camarena surprised audiences at the Metropolitan Opera with an encore during the performance of "La Cenerentola." Interestingly enough he made history becoming the third tenor in the past 70 years of the Met to do so.
Mezzo-Soprano Carla Dirlikov talks to Latin Post about her experience as a Cultural Envoy for the US State Department as well as the responsibility she feels after being awarded the SPHINX Medal of Excellence.
The Met's revival of "La Cenerentola" is one of the finest displays of riveting Belcanto that the company has put on in the last few years. The performance features a fine blend of tremendous humor as well as complex performances (both vocally and dramatically) from its wondrous cast. The work has five performances remaining, including a final one on the last day of the 2013-14 season. It is the perfect way for the Met to send off what has been an unforgettable season.
Olga Peretyatko speaks to Latinos Post about her debut at the Metropolitan Opera. On Thursday, April 17, 2014, Russian Soprano Olga Peretyatko will make her debut at the Metropolitan Opera in the role of Elvira in Bellini's "I Puritani.
Throughout the 2013-14 season, the Metropolitan Opera has revived the works of Richard Strauss. Despite being one of the undisputed kings of the operatic repertoire, his works have not been a permanent fixture every single season. This year, the Met brought back his ever popular "Der Rosenkavalier" as well as the rarely performed "Die Frau Ohne Schatten." For its final dose of Strauss, the house revived "Arabella" for the first time since 2001 when Renee Fleming took on the title role. The revival featured the Otto Schenk production was a truly satisfying rendition of the final collaboration between Strauss and his long-time librettist Hugo von Hoffmansthal.
Opolais has four more performances of the role at the Met this season and there should be no doubt that like her sensational performance on Friday, she will only get better and better as the run progresses. Her Butterfly is arguably one of the best of modern times and will leave the viewer emotionally exhausted due to its visceral nature. Anthony Minghella's glorious production, which is usually one of the main draws for a revival of this wonderful work, is the icing on the cake.
Tenor Javier Camarena talks to Latinos Post. Over the last few years, Latin American tenors have started to take the opera world by storm. Aside from major singers like Ramon Vargas, Marcelo Alvarez and Jose Cura, the world has seen the arrival of superstars such as Juan Diego Florez and Rolando Villazon among others.
Most of this cast will reappear on Saturday April 5 when the opera gets a long-awaited HD broadcast. Judging from the exceptional performance on Saturday night, that worldwide transmission will be one for the ages. Audiences who are able to catch the last few performances of Boheme will be treated to an unforgettable night filled with unbridled passion, but intelligent stagecraft at the same time.
Latinos Post interviews Italian tenor Vittorio Grigolo. "The main goal in my life is to make extraordinary things out of the ordinary. " Those were the words of Italian tenor Vittorio Grigolo during a recent interview with Latinos Post ahead of his appearance as Rodolfo in "La Boheme" at the Met.
"Andrea Chenier" is a passionate masterwork that moves at an unrelenting pace. The Met's current production remains timely despite its age and the singers, for the most part, gave terrific performances. These performances have surely made a case for the opera's more persistent revival at the famed house.
The most important conclusion however is that Bellini's "Sonnambula" is worth seeing for Damrau and Camarena alone. Despite the poor production, these two great artists and their colleagues make the evening fulfilling on an emotional and musical level.
"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.
On Feb. 26, the Metropolitan Opera will revive the baroque pastiche "The Enchanted Island" for its second run at the historic house. Among the artists returning to the production is mezzo-soprano Elizabeth DeShong. The singing-actress recently spoke with Latinos Post about her return to the role as well as her other work at the Met Opera this season.
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.
