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Interview: Charles H. Eaton of LA BOHÈME at Minnesota Opera by Jared Fessler
- April 30, 2024 The Minnesota Opera's rendition of La Bohème will grace the stage of the Ordway Music Theater from May 4th to May 19th, 2024. The enchanting music is composed by Giacomo Puccini, with a compelling libretto crafted by Giuseppe Giacosa and Luigi Illica.
Review: Dizzying Night at the Met with Grigorian's Splendiferous BUTTERFLY in House Debut by Richard Sasanow
- April 28, 2024 Those of us who keep an eye on the comings and goings of singers at major opera houses around the world, have known that Friday’s debutant, Lithuanian soprano Asmik Grigorian, was going to be one to watch. And it was. No worries about whether her voice would translate from Europe’s smaller houses to the Met’s enormous hall: Grigorian may have been singing Puccini’s Cio-Cio-San/Madama Butterfly this time around, but she’s a well-schooled Lady Macbeth and Turandot as well, bringing a notably large voice with her. She survived the Met’s notoriously short rehearsal time for revivals (particularly for the second cast of the season). Lastly, she even made it through the final curveball, when tenor Jonathan Tetelman became ill and standby Chad Shelton had to take over as Pinkerton; he did well considering the circumstances, but he was no match for her.
Interview: How to Make a Cad—BUTTERFLY's Pinkerton—Appealing, According to Jonathan Tetelman by Richard Sasanow
- April 26, 2024 It’s a big season at the Met for tenor Jonathan Tetelman—born in Chile, raised in New Jersey—and he’s taking every advantage of it. He’s come to town with a reputation as a Puccini specialist (not that there’s anything wrong with that). How does he feel about that?
“Well, I basically built my voice on Puccini repertoire. I’ve taken it as a gift because he’s a great writer for my voice.” His debut at the Met in March was in LA RONDINE but he’s looking forward to showing off more of his dramatic chops with Pinkerton in MADAMA BUTTERFLY, starting this week, because there’s more 'there' there.
Review: John Adams's EL NINO Finally Arrives at the Met After World Travels by Richard Sasanow
- April 24, 2024 Back in December, I saw the chamber version of John Adams’s EL NINO—dubbed EL NINO: NATIVITY RECONSIDERED—at the Cathedral of St. John the Divine. Pared down to its essence, it was wonderful, starred two of the singers who made their debuts in the premiere at the Met, soprano Julia Bullock and bass-baritone Davone Tines plus countertenor Anthony Roth Costanzo, who were at their best. It was a somber evening in a dramatic setting—a far cry from the oratorio/opera’s over-the-top welcome to Lincoln Center last night, in Lileana Blain-Cruz’s production that made me wonder what Franco Zeffirelli might have done with it. Think the Parisian throngs in Act II of the Met’s LA BOHEME (which, of course, is one of the Met’s most popular productions with audiences).
Review Roundup: Critics Sound Off On EL NIÑO at the Metropolitan Opera by Joshua Wright
- April 24, 2024 The Met premiere of John Adams’s opera-oratorio EL NIŃO, which features soprano Julia Bullock, mezzo-soprano J’Nai Bridges, and bass-baritone Davóne Tines is now on stage! What did the critics think?
The Met's 2024 Summer Recital Series to Begin in June by BWW News Desk
- April 23, 2024 The Metropolitan Opera’s 2024 Summer Recital Series, now in its 15th season, will begin June 18, with five free outdoor recitals throughout New York City. Learn more about the performances!
Video: Kathleen Battle Performs Excerpt From Baroque Duet by BWW News Desk
- April 23, 2024 Soprano Kathleen Battle will return to the Met stage May 12 for a special performance of classical song and favorite spirituals. In an all new video, featuring an excerpt from Baroque Duet, Battle sings “My Heavenly Father Watches over Me.”
Review: TURANDOT at Belk Theater by Perry Tannenbaum
- April 22, 2024 Yes, a grand opera was inserted at Belk Theater as the clock or calendar was winding down! Around the world, Callas, Nilsson, and Sutherland are among the divas who have graced the powerhouse role of TURANDOT, and Franco Zeffirelli's production at the Met is as revered for its stateliness and splendor as the Notre Dame Cathedral. Grand? Monumental.
Review: Separated at Birth? Boulanger's VILLE MORTE and Debussy's PELLEAS Fall Similarly on the Ear by Richard Sasanow
- April 20, 2024 It’s easy to understand why Neal Goren, founder and artistic director of Catapult Opera, was immediately taken with LA VILLE MORTE. (His program notes say, “Upon receiving the piano-vocal score, I found myself sighing in ecstasy…”) First, the name Nadia Boulanger is magic in 20th century music—in music history in general, for that matter—though not for her own compositions.
Review: Lighter Side of the Fall of the Weimar Republic, in Death of Classical's TIERGARTEN? by Richard Sasanow
- April 20, 2024 I wouldn’t say that Andrew Ousley’s TIERGARTEN cabaret draws parallels between Weimar Germany—from World War I, leading up to the Nazification of the country and finally World War II—and the current political climate in the US. But you could. After all, who doesn’t love a little escapist fiddling while Rome (and other entities)—burns, here performed as part of the Carnegie Hall festival “Fall of the Weimar Republic: Dancing on the Precipice”?
Videos: Cast and Creatives Talk EL NINO at the Metropolitan Opera in Two New Panels by BWW News Desk
- April 18, 2024 The cast and creative team members of John Adams's El Niño at the Metropolitan Opera recently took part in two different panels to discuss the production, at The Apollo and The Guggenheim. Both panels are now available in full to watch online. Check out the videos here!