Latinos Post interviews Brazilian Baritone Paulo Szot. Landing the lead role in "South Pacific" and then winning a Tony award. Singing at a jazz club or cabaret.
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.
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.
