Metropolitan Opera
Page: 5
The director, an unabashed emperor of extravagance, forgot what he once knew: Opera can be deep drama. Source
His sumptuous, realistic style suited a classic “Romeo and Juliet” film and productions of “La Traviata” and “La Bohème.” Source
Plácido Domingo in zarzuela, an unplanned deficit at Tzadik and a young artists’ gala were among the highlights. Source
Robert Lepage’s much-warred-over Metropolitan Opera production of Wagner’s “Ring” cycle now makes for decent drama. But it’s still not worth it. Source
Robert Lepage’s production, with a notoriously noisy machine as its centerpiece, benefits from distance, which makes it quieter and more cinematic. Source
What makes a great Wotan, the king of the gods in Wagner’s “Ring” cycle? Three writers dissect Michael Volle’s triumph in the role. Source
Yannick Nézet-Séguin, the Metropolitan Opera’s music director, discusses a passage from Poulenc’s “Dialogues des Carmélites,” which returns this week. Source
After the Met’s Grand Finals Concert, our chief music critic spoke to a judge about what makes a performance memorable. Source
Rosa Feola made her debut as Gilda in “Rigoletto” on Friday. The next morning, Andreas Schager brought his Siegfried to the Met in “Götterdämmerung.” Source
The conductor Philippe Jordan, 44, is relatively little known in the United States, but he’s at the crossroads of a major career in Europe. Source
