Willy Decker's odd approach to this Verdi classic did not defeat these fine performers. He required
Natalie DDessay to sing "Sempre Liberawhile walking on the back of a divan like a balance beam. Miotri Hvorotovsky was the finest Germont I've ever hgeard or seen. His duets with dessay's Violetta were exquisite and heartfelt.. The giant clock dominating the set was an effective device to show that Violetta had limited time left, as was the omnipresent figure of Dr. Grernville (like an angel of death). Watch for the encore presentation and go!
in "Manon' an innocent but fun-loving girl whose family is sending her to live in a convent is
lured away by the glamorous lifestyles and people she sees on the way; she falls for a dashing Chevalier and he for her. The beautiful Anna Netrebko sings the doomed heroine with great power Piotr Beczala as the Chevalier des Grieux is a perfect match for her vocally and physically
"The Enchanted Island" is an incredible achievement. This production must have broken the Met's
budget for this season and yet the lavish production did not overwhelm the larger-than-life characters; Danielle de Niese was charming as the somehat bumbling sprite Ariel, and Joyce Di Donato enthusiasticaly chewed the scenery in her larger arias. the venerable Placido Domingo was a impressive as a tired and grumpy Neptune. His entrance, in a tableau derived from Rome's Trevi Fountain,surrounded by floating mermaids, was worthy of any operatic diva. Luca Pisaroni succeeded in conveying emotion through heavy theatrical horror makeup as the desperate Caliban. The English language libretto with characters and situations based on Shakespeare's "Midsummer Night's Dream and "The Tempest," was slyly witty. The score, a pastiche of previously published Baroque music, worked perfectly and seamlessly This performance was broadcast live to several schools, Don't miss the Encore showing.
The Metropolitan Opera: La...
The Metropolitan Opera: Manon
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