This Metropolitan Opera production of Verdi's Don Carlo is a magnificent performance. The principal singer/actors are uniformly superb in their presentation of their roles. The opera is very loosely based on actual history; the libretto takes great liberties with the actual persons and events. But as a work of compelling fiction about the interaction of the principal characters, it is a fascinating work. If you missed it, I would highly recommend that you catch the encore presentation of the production, on Wed., January 5, 2011, at 6:30 p.m.
Don Pasquale is a wonderful ensemble performance. The four main singer/actors, with Anna Netrebko at the core, do a terrific job of singing and acting out this comic tale of an old goat, Pasquale, trying to love it up with a gorgeous young woman. It is three hours and fifty minutes of great theater.
As I was unfamiliar with Thomas' version of Hamlet, I approached it without knowing what to expect. I found that the opera itself, and the production by the Met, were wonderful! There is an unrelieved darkness about this production which fits the somber theme of Shakespeare's play. Hamlet's anguish is borne out by every scene and every note of the performance. There are not even any curtain calls to relieve the tension until the opera is over. None are done at the end of acts, as is a common practice. The full force of the tragedy came across in a powerful manner.
"Leap Year" is a movie to enjoy for many things. If you love Ireland, the film has lots of gorgeous views of rural Ireland, as the setting for this inevitable romance of two people who start out at odds and end up in love and married. If you are looking for surprises and unusual plot twists, don't look here. But if you want to feed your Irish-loving habit, and enjoy yet another tale of love in Ireland, punctuated by the remarks of sundry Irish characters, don't miss "Leap Year."
Der Rosenkavalier is a wonderful story, about love in all of its aspects. The story is beautifully acted and sung to the glorious music of Richard Strauss, in this production at the Met. Whether you are young or old or in between, you will find elements in this opera that appeal directly to your sensibilities and your emotions. If you didn't see it, make sure you look for repeat showings and go. You will be well rewarded.
This was a wonderful production of Turandot, Puccini's last opera. If you missed it, see it on the encore presentation. There were problems with the transmission, causing periodic blips in the sound, and the stage was so dark much of the time, in Zefferelli's staging, that it was difficult to see the performers. In spite of all this, Puccini's vision was superbly realized by the singers, the Met's staging, and the orchestra, and I was left with tears of joy at the triumphant ending, when love conquered all.
The staging of Act One left me cold. Here we have all the magnificent staging resources of the Met being used by the director to imitate a bare gymnasium. The large cast for the wedding marched up and down bleachers to simulate going up and down hill. On the other hand, acts two and three were wonderful. The casting of those acts is small and intimate and the cameras focused in close to give us the illusion of intimacy. I believe they came across far better in the movie theater than in the opera house. Overall, it was a fine performance, but I have seen Act Ones that were much better in the Opera House, such as Barbara Karp's wonderful production of many years ago at the Pittsburgh Opera.