Carmen Marks Washington National Opera’s Gala Return to Fully Staged Performances
Isabel Leonard’s portrayal of Carmen was commendably human in a world that often also demands some kind of ideology to peer out from the character.
Isabel Leonard’s portrayal of Carmen was commendably human in a world that often also demands some kind of ideology to peer out from the character.
For the first time since Russia began its so-called ‘special military operation’ three months ago—and as the war rages on east of the Dnieper River—the National Opera of Ukraine in Kyiv, in a symbolic act of defiance, has reopened its doors to the public.
American composer Michael Dellaira secured the operatic rights to Lampedusa’s novel after rereading it following a trip to Sicily in 2014. Pandemic complications froze the entire performance world for two years, so the opera only had its world premiere in March 2022, in a run of two performances by the Frost Opera Theater.
Set against the production’s dismal sets, the action unfolded as a five-hour dirge of funereal hopelessness before ejecting spectators into equally gray Manhattan surroundings where after-theater conviviality is long dead.
Listening to Renée Fleming in an intimate recital nearly five years after her semi-retirement, one has to wonder if she left too soon. She has upcoming April concerts in France, Germany, Lithuania, and the UK.
To fully appreciate Perosi, we must try to look at the hope he sparked in people during his golden age.
The European wave of sanctions has reached the arts sector. Prominent Russian artists, such as Valery Gergiev and Anna Netrebko, are having their contracts terminated for “insufficient distancing” from Kremlin politics.
Sadly, Macbeth turned out to be more of a miss than a hit. Livermore replaced the original Scottish setting of Verdi’s opera and Shakespeare’s play with a modern urban gangster war. The idea is far from original. Theater directors have toyed with it for at least forty years, not only with Macbeth but with other operas featuring political power tainted by betrayal and a hint of sexuality.
The production has aged well. Its vibrant return after a seven-year absence should have been a landmark revival and one of the highlights of the Met’s new season. Musically, it met the mark. The energy on stage was palpable. The only disappointment was to be found in the audience. The revival’s first performance reportedly filled just 57% of the seats.
Scheduled for only six performances (September 28-October 17, 2021), the Met chose, as a cost-cutting measure, to present Mussorgsky’s original seven-scene 1869 version of the opera. European houses and scholarly purists favor this original score, which is currently found in repertoires in London, Paris, Berlin, and St. Petersburg.