Written January 28, 2015
This is the third opera we've watched with the Met's new productions and frankly I don't like them one bit. We saw Traviata (it was marginally OK I guess),And then Die Walkure with lts mechanical mountain. I can't imagine in Wagner's wildest insanity he would have approved such an obsenity. Wagner paid great attention to details including the music, the libretto and the production - a mechanical collection of moving wooden slats....give me a break. I'm amazed somebody hasn't gotten serious hurt on that contraption.
And now Julius Caeser which occured around 46 BC - we have blimps, guns and rifles, modern warships, tailored clothing and worse.....comedy. Caesar proclaiming he is going to conquer the world. In 46 BC, the known world was a bit smaller than when this production was happening. This production borders on the rediculous,and in my opinion a complete waste of money spent to see it.
I was always taught to be true to the composer in music. Don't think this is it!
Written April 29, 2013
How else could we view in HD live a rarely performed great Handel opera with phenomenal performers at their best? This was an uplifting experience that we we will cherish. We are completely hooked on this exposure to great opera. Thank you to all at Metropolitan Opera Live and to you folks at Fandango.
Written November 24, 2014
It was a fabulous production-witty, tragic, delightful. The choreography made the arias fly by and the acting and dancing were superb.
The intermissions are boring and should be eliminated by the Met. Just a straight break would be fine.
Written January 26, 2015
I love opera and i love Handel, but this was such a hodge podge of eras, poorly chosen costumes and unexpected voices. The roles that should have come across as strong hetrosexual characters were deisnated , by costume and voice as gay. nothing against gay but I have a lot of difficulty imagining Ptollemy as fay but still wanting the women.Cleopatra came acrros as in her 40's and none of her costumes in any way showed her power or her attractiveness. She looked like an older 1930's middle class woman. I guess i expect soem dazzling when I go to the opera. This was not. it was like any ordinary movie. The one positive i can say was that the arias were indeed beautifully sung. The director and producer of this opera really got in the way. They did nothing to support the roles
Written December 18, 2014
Between the ENDLESS repeats, the idiotic gimmicks -- with loads of stupid anachronisms (WWII warships and BLIMPS!) -- and "countertenor overload," Peter Gelb's latest excursion into opera "updating" produced one of the most tiresome afternoons that I've experienced in a long time. Natalie Dessay, who, according to published reports and interviews, dotes on this sort of fluff, must be at least as much to blame for this load of nonsense as director David McVicar. Judging from her vocal lapses yesterday, Dessay is in the twilight of her career. She needs to perform a punishing role like this one like she needs to gargle with gravel! (Instead, I always will remember her fondly for her role in "Fille du Regiment" rather than in this Caesarian turkey.) Neither will I run to see the unexciting David Daniels again anytime soon. Pardon them, Maestro Händel, for they know not what they do!