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☆ Review: A ‘Roméo et Juliette’ Is Saved by Its Stars
  + stars: | 2024-03-11 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +1 min
Two weeks ago at the Metropolitan Opera, a superb cast in “La Forza del Destino” outshone a new, somewhat confused staging by Mariusz Trelinski. And now, Bartlett Sher’s handsome yet unconvincing 2016 production of Gounod’s “Roméo et Juliette” has returned to the house with a pair of singers in splendid form. Sher’s staging situates the action on a raised platform surrounded by stone facades and colonnades. Beautifully lit by Jennifer Tipton and costumed by Catherine Zuber, the production runs out of ideas quickly. But that doesn’t really matter when you have singers on the order of Nadine Sierra and Benjamin Bernheim in the title roles.
Persons: Mariusz Trelinski, Bartlett Sher’s, Roméo, Juliette ”, Jennifer Tipton, Catherine Zuber, Nadine Sierra, Benjamin Bernheim Organizations: Metropolitan Opera, Forza Locations: “
☆ Review: The Met Opera’s ‘Turandot’ Returns With a Strong Debut
  + stars: | 2024-02-29 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +1 min
Puccini’s “Turandot,” a verismo opera set in a fabled version of ancient China, makes for an odd love story. Its unlikable romantic leads go largely unfazed by the death and dismemberment they instigate; when they finally share true love’s kiss, they’re standing atop a figurative pile of corpses. On Wednesday at the Metropolitan Opera, the conductor Oksana Lyniv made a strong debut, emphasizing the murderous, life-or-death stakes instead of the fairy-tale Orientalism that has made it a cultural lightning rod in recent years. The reckoning around “Turandot” creates a problem for the Met, because the company’s long-running production, a lavish spectacle introduced by the director Franco Zeffirelli in 1987, is a hit. The gold-and-ecru throne room of Act II still dazzles, and eye-popping exoticism runs rampant, with acrobats, ribbon dancers, curled-roof pavilions and a dragon puppet.
Persons: Puccini’s, ”, Oksana Lyniv, “, —, Franco Zeffirelli Organizations: Metropolitan Opera Locations: China
☆ Renata Scotto Spun an Actor’s Insight Into Vocal Gold
  + stars: | 2023-08-17 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +3 min
Scotto contained multitudes, and that extended to her vocal categorization, too. Some have described her as a lyric by fach and a spinto by temperament, attributing her vocal decline — inevitable for any singer — to the irreconcilability of the two. Her Cio-Cio-San in Puccini’s “Madama Butterfly,” preserved on two studio recordings, exploits the permeable boundary among those voice types. The progress is not linear; her voice responds to hopes and doubts that the heroine continually surfaces and suppresses. Scotto’s morbidezza — her ability to inflect her middle voice with captivating softness — was arguably her most impressive quality.
Persons: Scotto, fach, —, Puccini, ”, “, Lorin Maazel, morbidezza, Verdi’s, ” Scotto, pesky, It’s, Riccardo Muti’s, Violetta, Lucia, Mimì, Desdemona Organizations: Cio Locations: Puccini’s, “ La
☆ Bel Canto Rarities, Delivered With Unflashy, Revelatory Style
  + stars: | 2023-07-21 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +1 min
Opera fandom is often built around a preoccupation — zealous, territorial, absolute — with distinctive voices. Maria Callas, Renée Fleming, Cecilia Bartoli, Luciano Pavarotti — they’re all immediately identifiable by timbre alone. Teatro Nuovo, the brainchild of the bel canto specialist Will Crutchfield, inverts that value system. It asks: What would happen if all of the singers onstage shared a particular school of singing and even a certain vocal quality? The singers in the two casts largely shared a vocal profile and style — a trim yet colorful sound with a quick, understated vibrato and an emphasis on legato, portamento and unaspirated coloratura.
Persons: Maria Callas, Renée Fleming, Cecilia Bartoli, Luciano Pavarotti — they’re, Will Crutchfield, Donizetti’s, ”, Federico, Luigi Ricci’s “ Organizations: Teatro Nuovo, Theater, Lincoln Center
☆ The Boston Symphony Finds Surprises and Strengths in New Music
  + stars: | 2023-04-26 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +1 min
When orchestras come to Carnegie Hall, their programs typically tell you two things: who they are and what they can do. Or when the Berlin Philharmonic and Kirill Petrenko opened up the complex worlds of Mahler’s Seventh with coordinated virtuosity. And over two nights at Carnegie this week, the Boston Symphony Orchestra and its music director, Andris Nelsons, told their story gradually, one piece at a time, in canonical works by Ravel, Rachmaninoff, Sibelius and Mozart. Among American orchestras, the Boston Symphony’s sound is enviably rich. That opulence was readily apparent in the ceaseless flow of cantabile melodies in Rachmaninoff’s Second Symphony.
☆ Spotlighting Lady Macbeth’s Anguish: Can What’s Done Be Undone?
  + stars: | 2023-04-13 | by ( Oussama Zahr | ) www.nytimes.com   time to read: +2 min
Macduff, the chorus, Macbeth’s big Act IV aria — all scrapped. In typical stagings, Lady Macbeth comes across as an unsubtle, unrepentant harridan whose abrupt crisis of conscience in the opera’s final act stretches credulity. Heartbeat starts with Lady Macbeth’s breakdown as the essential truth of her character and then molds the narrative to fit it. The show begins with Lady Macbeth in bed, sobbing uncontrollably, full of remorse for all the blood she has helped to shed. In Heartbeat’s telling, Lady Macbeth, no longer the scapegoat for her husband’s foul behavior, is the one who is led astray by an avaricious spouse.
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