Written April 28, 2013
This was my first experience seeing this opera. I was delighted to find it had a comic aspect. I was shocked to learn that Cesare had a high voice (falsetto,counter-tenor) and not a deep commanding baritone. The plot went from flirtatious, to dangerous, to romantic, to bloody and back again to a crowning glory at the end. The production was terrifically inventive and dazzling. I'd love to see it again. The performers were all superb.
Written July 23, 2016
Fantastic, best opera yet. Hope you will show repeats this summer and continue with the new season in the Fall. Well done!
Written August 20, 2016
An innovative take on a rarely performed Baroque opera, with an outstanding cast. The updated production worked very well. Handel would have been pleased.
Written May 07, 2013
I have not enjoyed some of the Met's new productions, especially La Traviata and Rigoletto. I am inclined to agree with the critic who, in commenting on the Met's new Ring, said that "pound for pound, ton for ton, this is the most witless and wasteful production in operatic history. However, back to the current topic. I thought that the production was witty and well conceived. Natalie Dessay was in good voice, and her dancing and acting were delightful. It seems chic to have elements of different periods mixing it up on the operatic stage, and in this production, I don't think it was objectionable. My problem, and this is my problem with many baroque operas, is that they tend to be imbalanced in favor of the high voices. Counter tenors certainly serve a purpose in presenting baroque opera, since castrati are extinct, but, personally, I am just not crazy about the timbre of this particular kind of voice.
Written May 30, 2016
Wonderful singing, wonderful visuals, beautifully photographed. The production was excellent.