Rusalka Preview 2013-2014

Renee Fleming returns to her acclaimed turn in Dvorak's Fairy Tale Rusalka. Piotr Beczala, Dolora Zajick and Emily Magee round out the cast in Otto Schenk's classic production.

San Francisco Opera 2013-2014 season announced

The San Francisco Opera has announced their 2013-2014 season. Patricia Racette will lead the season opening with Mefistofele as well as with Showboat and Madama Butterfly. Ramon Vargas, Dolora Zajick, Ildar Abdrazakov, Isabel Leonard, and Bryn Terfel also make up the lineup.

Un Ballo in Maschera opens tonight

Verdi's Un Ballo in Maschera opens tonight starring Marcelo Alvarez, Sondra Radvanovsky, Dimitri Hvorotsovsky, and Dolora Zajick. Fabio Luisi conducts David Alden's new production 

For more information click here to read our preview.

For more on Dimitri Hvorostovsky read our Ernani Preview.

For more on Dolora Zajick read our Il Trovatore Review

Un Ballo in Maschera Preview 2012-2013

Marcelo Alvarez, Dimitri Hvorostovsky and Sondra Radvanovsky lead the cast in David Alden's new Un Ballo in Maschera.

The Production 

The last time Un Ballo in Maschera had a new production was in 1990 with Piero Faggioni's traditional production. The production was lavish with many striking images but many complained over Ulrica's lair and the fact that many of the sets were too similar. For example Renato and Gustavo's palaces were the same stage with different furniture. Twenty two years later Peter Gelb has commissioned a new production by one today's most acclaimed director's David Alden. Alden made his Met debut in 1980 as the stage director to Otto Schenk's production of Fidelio and since then became famed for his post-modern direction. For his Un Ballo in Maschera Alden has decided to bring the action to the early 20th century in a Film Noir setting. According to Alden the piece has a nightmarish quality and as a result has decided to set all the action in King Gustavo's room. Images change in the background and a painting of the fallen Icarus predominates throughout representing the fall of the king. The production designers is Paul Steinberg and the costume designer is Brigitte Reiffenstuel. It will be interesting to see how audiences respond to this concept considering it will be the first modern production of Un Ballo in Maschera at the Met. One only hopes David Alden will be as successful as he is in Europe. The HD transmission represents the third recording of Un Ballo in Maschera for the Met.

Met Opera Review: "Splendid Cast Salvages Routine Staging"

(For October 12, 2012 performance)

For years, Il Trovatore was absent from the Met repertoire due to poor productions. But over the last few years, the opera has been one of the Met’s most popular repertory staples. The David McVicar production was inaugurated on February 16, 2009 to rave reviews. Critics clamored over how the production maintained the steady pace of this fast moving melodrama. But the greatest praise that McVicar received was for finally giving the Met an appropriate Trovatore Production.

Three years later, the appeal is still there, but it has certainly faded. Gone is the energy that had carried it through its first season. Back then, the sets were vibrant with mood and tone. Now their minimalism looks dull and bland. The one scene that still packs a punch is the gypsy encampment at the start of Act 2. The activity of the famous Anvil Chorus and the bright colors add stark contrast to the muted and gray colors of the other scenes. Obviously Trovatore is a dark drama and an appropriate palette is necessary, but many of the sets feel tacked on and unfinished. Act one’s castle is passable if only because the soldiers and narration of Ferrando help the cause. But the second scene which sets up the main conflict between Di Luna and Manrico for Leonora’s love is bare and lacking in any dynamism. The rotating set does help speed up the proceedings, but does not necessarily enlighten or refresh them.

It is completely unfair to blame McVicar’s sets for the routine vibe that the set gave off last Friday. Trovatore is undoubtedly a hard sing for all those involved, but stage director Paula Williams was either rushed to direct anything or ultimately had no ideas and was disinterested in the material. When there was some staged action it lacked authenticity and felt tacked on. It would immediately be easy to blame the actors, but I don’t honestly believe it was their fault. The direction seemed disinterested and lacked the energy of the drama unfolding onstage

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Il Trovatore opens tomorrow!

The Celebrated soprano Carmen Giannattasio makes her long awaited Met debut in the role of Leonora in Verdi's Il Trovatore. Veteran mezzo Dolora Zajick returns to her signature role as Azucena, Gwyn Hughes Jones sings the title role of Manrico and Franco Vassallo sings the Count. Danielle Callegari conducts the acclaimed David McVicar production. 

For more information on Il Trovatore check out our preview linked here.

To find out more about Il Trovatore DVD click here.

To find out more on Carmen Giannattasio click here.

Il Trovatore Preview 2012-2013 Season

David McVicar's crowd pleasing Trovatore returns with a cast of up and coming stars which include Gwyn Hughes-Jones, Carmen Giannattasio and Alexey Markov

The Production

For years the Met had suffered from terrible productions of Il Trovatore from Fabrizio Melano and Grahm Vick. They were unable to tell the story that has become known for its complicated plot and its complex characters. In 2009, 6 years after the last Trovatore had been shown, the Met unvealed a new production by David McVicar and quickly became a critic and audience darling. The production has only missed one season and has been easily cast. Set in the Spanish Civil War, McVicar's sets uses a rotating turntable to easily move the action forward. The backdrops draw inspiration from “The Disasters of War,” Goya’s series of etchings and give the production a consistent and harrowing look. Having seen the production twice I was absolutely convinced the first time by its direction, and its imagery. As critics stated I believed the Trovatore "curse was broken." However the second time I was bored as the sets looked like drab and ultimately failed to provide any new insight. I don't know if it was because the cast was nothing special or because the production is ultimately a one shot deal. However what I do know is no matter how good a production is, the cast is ultimately what matters when it comes to this opera.