The undisputed cause célèbre here — for better or worse — is director Simon Stone.
These streamed recitals, warts and all, have allowed us to see performers let their hair down.
Fueled by a fierce intelligence, deep earnestness, exceptional eloquence, and social media savvy, Joyce DiDonato is a presence and a power.
Does this legendary production, seen in close-up, retain it’s greatness? Yes… and no.
Anna Netrebko and Anita Rachvelishvili shine especially bright in this worthy revival.
At the Met, Carsen and company reduce metaphor to melodrama.
The 3,800 seat Metropolitan Opera may be a temple to music – but it’s not a recital hall. Increasingly, though, the company […]
A few thoughts on today’s Turandot, which I saw via HD transmission… ** For years, I’ve been happy that the Met retained […]
Bizet’s wonderful early opera gets a surprisingly effective rethinking by director Penny Woolcock, and it’s beautifully sung.
When a critic friend invited me to the Met Tosca, I jumped at the chance. I wanted another opportunity to hear Angela […]