Once again the Met presents a meticulous production. The design of the whole event was exceptional
from the conducting to the singing to the set and costume designs. My only quibble would be with the lighting which wasn't very expressive. The singing of Netrebko and Beczala was riveting when they sang solo or in their duets. I have never seen or heard this opera and so was completely taken with its realism. And while the libretto ran out of steam as the story needed to move along quickly toward the tragic ending, leaving out, perhaps, motivation, its poetics held together as moments from earlier in the opera came to fruition in the end. But the music never lagged nor did the musicianship of the singers and the incredible Met orchestra and chorus. And kudos to the stagehands who managed to change sets in acts like dancers in a ballet. The behind-the-scenes is almost as fascinating as what happens when the curtain goes up.
It was beautifully produced and hearing Angela Meade as she starts her ascent was a delight. She
has a long career ahead of her. The other singers were superior but for the tenor who tends to sound restricted. I saw him in Turandot and found him disappointing there, too. And watching the elaborate scene changes was fascinating. It's like watching military maneuvers! All in all, it was an okay experience.
What a remarkable accomplishment: a baroque opera that moves along swiftly. Everything about this
production is noteworthy. The singing is exceptional which shouldn't be a surprise since this opera was created for today's wealth of baroque singers. The production design was a joy to behold with some amazing visual effects. The entrance of Neptune was a standout. This is highly recommended
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