Ken Howard News

Lyric season opens with a double does of opera vérité

Thomas Guggeis, the young German conductor making his Met debut, is Kapellmeister at the Staatsoper Berlin and the designated Generalmusikdirektor of the Oper Frankfurt; pretty impressive for one who has yet to hit his 30th birthday!   His Met debut was justly anticipated, as across Europe he is known as something of a Wagner and Strauss specialist.   His performance was well-paced and well-colored and energetic.  The score provides for enormous surges of energy and power, and the orchestra was certainly up to the task, but Guggeis’ rendition while quite good, was perhaps a tad lacking in thrills – the magnificent Wagner bombast was a little timid and the quieter passages were lovely but just a bit bland.   With time and more experience with this orchestra, one can safely expect some exceptional performances in the future.

There are no supernatural women arriving on horseback to escort slain warriors to the afterlife--just a trio of mermaids, a couple of giants and a loveless dwarf, along with a bunch of gods, demi-gods and grotesque humans in Richard Wagner’s DAS RHEINGOLD, the first part of the composer’s Ring cycle (officially DER RING DES NIBELUNGEN). Saturday night’s audience stayed to cheer the opening of General and Artistic Director Tomer Zvulun’s production after nearly three intermission-less hours.

Following its Metropolitan Opera premiere on April 10th, Terence Blanchard's opera Champion, based on the true story of the troubled former middleweight boxing champion Emile Griffith, continues with nine performances running through May 13.

In search of new audiences, the Met has followed Terence Blanchard’s FIRE SHUT UP IN MY BONES with the jazz musician/composer’s first opera, CHAMPION, the story of closeted boxer Emile Griffith’s rise and fall from grace. Honestly, never have I heard people whose usual venues are Madison Square Garden, Yankee Stadium and Monday Night Football on ESPN talk about how they “wanted to see the new opera at the Met.”

It took Richard Strauss only about 100 minutes apiece (with no breaks) to tell the lurid tale of SALOME and the tragedy of ELEKTRA. So why on earth did he and librettist Hugo von Hofmannsthal need almost five hours (including two intermissions) to tell the personal stories of an “aging” (she was really in her 30s) noblewoman, a couple of teenagers in love and a repulsive sexual predator?

Sypher Studios have announced its upcoming documentary, War Unfolding, narrated by four-time Oscar nominee Annette Bening and featuring an all-star cast including Eliza Bennett, Rachel Bloom, Gary Cole, Abigail Cowen, Oscar-winner Laura Dern, Monique Edwards, SAG Award winner Michael C. Hall, SAG Award winner Kelvin Harrison Jr., Golden Globe winner Paul Walter Hauser, Thurn Hoffman, Richard T. Jones, Jay Lee, Erick Lopez, Sandra Seacat, Oscar-winner Wes Studi, DeWanda Wise, and others.

Soprano Angel Blue’s Violetta didn’t seem as tragic as we’re used to seeing in Verdi’s masterwork and maybe that's right. She’s lived life on her own terms and if she’s dying of tuberculosis, well, c’est la vie. (After all, the source of the piece is French: the Alexandre Dumas fils “La Dame aux Camellias”).

After her highly acclaimed performances as Fedora earlier this month, soprano Sonya Yoncheva will return on February 28 for her Met role debut as the fearless title priestess of Bellini’s scorching bel canto drama Norma. 

Musicologist Joseph Kerman is probably most widely remembered for calling Puccini’s TOSCA “a shabby little shocker.” I wonder whether he’d have something similar to say about Giordano’s FEDORA, which brought the Met audience to its feet on New Year’s Eve?

Last season, the company gave its first presentation of the French version (that’s the one called DON CARLOS, with a final S to his first name), in the five-act version that lasted almost 5 hours. This year, we’re back to Italian, under Carlo Rizzi’s firm baton, in one of a number of versions (this one running about 4 hours) of DON CARLO, which uses shortcuts to tell the story elements deleted with the excision of the first act (usually referred to as “the Fontainebleau scene”).

When Paul Moravec calls himself as “a sort of Method composer,” in describing his work on A NATION OF OTHERS, commissioned for the Oratorio Society of NY, debuting at Carnegie Hall on Nov. 15, he’s likening his writing to the “Method Acting” technique: getting inside the heads of his characters, understanding their inner motivation and emotions, connecting his own life to theirs.

Tenor Allan Clayton, who made his acclaimed Met debut in the title role of Brett Dean’s Hamlet last season, will headline Britten’s haunting masterpiece Peter Grimes when the work returns to the Met for eight performances October 16–November 12, 2022.

Puccini’s thrilling masterpiece Tosca returns to the Metropolitan Opera for 15 performances, October 4, 2022–April 15, 2023.

While I was watching the Met’s current beautiful yet somehow languid production of the Igor Stravinsky and WH Auden/Chester Kallman opera THE RAKE’S PROGRESS the other night--with only two more performances until it goes back into mothballs for probably many years--I couldn’t help wishing that the opera house was more like Broadway.

On Saturday night, Version 2.0 of the Mason Bates-Mark Campbell opera, THE (R)EVOLUTION OF STEVE JOBS, opened brilliantly as a mainstage production of the Atlanta Opera, in its East Coast premiere, under Tomer Zvulun’s taut direction and Michael Christie’s smart baton. To say the audience greeted the work joyfully would be an understatement.

Richard Strauss’s ELEKTRA is simply overwhelming--particularly when you have Nina Stemme and, especially, Lise Davidsen, as the title character and her sister Chrysothemis, ably abetted by Greer Grimsley as their brother, Orest, and an incredible supporting cast top to bottom.

Can you imagine the Met--or any other major opera house--cutting the length of a new opera so commuters could make the last train? That’s what baritone Etienne Dupuis told me about the world premiere in Paris of Verdi’s DON CARLOS (1867). Dupuis is starring as Don Rodrigue, Marquis de Posa, at the Met these days, in the new David McVicar production of the Verdi opera.

Constellations: Fate, Love, and the Power of Theatre. The Lambs hosts a discussion of the play 'Constellations' by Nick Payne, the Tony nominated Broadway romantic comedy. A revival of the show will run from April 6 through April 24 at The Gene Frankel Theatre (24 Bond Street, New York NY 10012).

One of Puccini’s most popular operas, Madama Butterfly, returns to the Met for eleven performances, March 19–May 7. Set in Japan at the turn of the 20th century, the revival of Anthony Minghella’s evocative staging draws inspiration from traditional Japanese theater with brilliant stagecraft, bold colors, and Bunraku puppetry to tell the heartbreaking tale of doomed love.