Metropolitan in New York: The irrefutable opera’s actuality

New York – A weekend in the Metropolitan New York rewards the irrefutable actuality of opera and the insurmountable experience of witnessing it live. The Met also shows the slow but successful moved on contemporary staging Amortizables that without reaching European extremes avoid being anchored in outdated versions.

It is not easy to dust “Aída”perfect shows show conceived by Verdi with generous opportunity for showing for each record and item, which suffers from all the clicks and for having. The brand new version of Michel Mayer It is right when flirting with the colonialist facet and fortunately only to one point, it is a refreshing addition as well as despotive when in full triumphal march the Egyptologists pass by the Egyptologists, taking as much as they can.

Also, both scenery (Christine Jones) as costumes (Susan Hilferty) They do not intend to emulate pharaonic gigantisms but to refer to the Europeanizing vision of an exotic land in colorful evocative images of orientalism in vogue without ignoring its blattestly facet Kitsch. Dispense Oleg Gushkov of the traditional ballet to supplant it with fierce muscular in a kind of tribal dance emphasizing the triumph of the savage. The audience razes as in a Roman circus. He Met It provides an imposing sight of accurate impact framed by the glory of the metropolitan choir and its orchestra under the attentive direction of John Keenan.

Revealing another facet of a hateful “villain” challenges an intelligent artist like Elina Garacawhose velvety bell is far from the thunderous Amneris usual. His is subtle, beautiful, a princess understandably scorned who in the end, in a suicide that does not disregard, is redeemed and redeemed before the public. A finding in a character from which only fireworks are expected.

In contrast, the Ethiopian slave of Angel Blue Although effective vocally, you must mature on paper to measure yourself with your once rivals. The stentoring radames of the handsome Brian Jadge delight those who cry out for sound flow, as well as the Ramfis of Morris Robinson. In male hosts it is worth mentioning the king of Krzysztof Baczyck And the great Amartuvshin Enkhbatif still rudimentary as an actor possessing a vocal material of rare quality.

Figaro’s weddings

With “Figaro weddings”, Richard Eyre test functionality and agility in a masterpiece that can accuse some occasional Longueur If you do not play it vertiginously. In that tangled Spanish iron tower, magic worked and “Nozze” Not only revives its impeccable scenic and musical goldsmith but also timelessness.

MODELICAL FROM ALL ANGLE, THE DUPLA Luca stepped on a fazo Not only did he give song and style chair but also contributed the essential Mediterranean warmth. Yeah Step It is the faithful of his generation, FEOLA spell like Susanna. With immaculate scenic chemistry, every wink and complicit look, these service aristocrats tested their cunning, sagacity, charm and ultimately, being essential and irresistibly Mozartian.

More disappear the rest of the cast with a Cherubino winner in Emily d’Angeloa robust count by Adam Plachetka and the debutante Jacquelin Stuckera beautiful Countess not entirely comfortable in the character. To the podium another debutante, Joanna Wallwitz It hit but was oscillating, accusing unbalance between pit and scene as well as a peculiar approach that sailed from the rigid to the excessively subtle.

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Elza Van der Heever and Peter Mattei in “Salome”. Photo: Evan Zimmerman. Metropolitan Opera courtesy.

Salle

It is the new “Salome” for the German Claus Guthlate debutante, the new jewel of the company where Straussian sumptuousness reverges with disturbing deafness without falling into the mere illustration of the sung tonal poem. A contemporary setting perhaps perfect where the director manages to shake, reflect and disturb a relentless, ascetic portrait of family abuse.

Far from the biblical cursilería, he enters the Victorian blacks, in a gothic horror claustrophic where the abused young woman breaks into six different, and the perimated facilism of a problematic dance is always transformed into an internal year of collegial severity. As Haneke’s “White Ribbon” is a moral painting of humiliations and revenge that climb towards the inexorable catastrophe, moving away from the multicolored product of the decadence of 900 to win their medals as a genuine sung theater. Oscar Wilde and Richard Strauss They would be delighted.

Gerhard Siegel and Michelle Deyoung They embody a terrifying couple -Herod and Herod maybe Derek Jacobi and Julianne Moore? – And a Peter Matteisimply colossal where power and vocal luster are combined to embody the noblest Baptist.

Apart paragraph for Elza Van den Heever and his paradigmatic salomé. Clear, enameled, youthful voice, with the exact vocal weight by passing the orchestral ventarrón naturally. In his reco and insolence he is also a remarkable actress leaving a milestone and equating, even surpassing, famous exponents of the past.

Excellent Derrick Inouye To the podium unleashing the orchestral forces for a version where it is confirmed again that when in opera all the elements fit a product not only unique but incomparable, that “Total art work” that shuds, opts in an unforgettable memory and demonstrates its absolute validity as a genre.