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.
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.
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.
"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.
