The Metropolitan Opera 2024/2025 Season
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- Опубліковано 24 лют 2024
- The Metropolitan Opera has announced its 2024-25 season. This time, in my opinion, it's a better season, even though baroque and bel canto genres, as well as important composers like Wagner and Donizetti, are missing. If I had to pick my top three performances I am most looking forward to, they would be "Salome," "Die Frau ohne Schatten," and "Pique Dame" with amazing casts and/or productions. What are your thoughts on the new season?
New Productions:
Yannick Nézet-Séguin conducts Verdi’s “Aida” in a new production by Michael Mayer. Angel Blue, Judit Kutasi, Piotr Beczała, Quinn Kelsey, Dmitry Belosselskiy, and Morris Robbinson. Alexander Soddy conducts the second cast with Christina Nilsson, Elīna Garanča, Brian Jagde, Eric Owens, Michael Chioldi, Amartüvshin Enkhbatyn, Alexander Vinogradov, and Krzysztof Bączyk.
Deborah Colker directs Osvaldo Golijov’s “Ainadamar.” Miguel Harth-Bedoya conducts the opera which is set to star Daniela Mack, Angel Blue, Gabriella Reyes, Elena Villalón, and Alfredo Tejada.
Yannick Nézet-Séguin and Steven Osgood conduct Michael Mayer’s production of Jeanine Tesori’s “Grounded.” Emily D’Angelo, Kyle Miller, Kirsten MacKinnon, and Ben Bliss star in the Met premiere.
Claus Guth directs Strauss’ “Salome” with Yannick Nezet-Seguin. Elza van den Heever sings the title role with alongside Michelle DeYoung, Gerard Siegel, Chad Shelton, Piotr Buszewski, and Peter Mattei.
John Adams’s “Antony and Cleopatra” will be directed by Elkhanah Pulitzer and conducted by John Adams. Gerald Finley, Elizabeth DeSHong, Taylor Raven, Brenton Ryan, Julia Bullock, Paul Appleby, and Alfred Walker star.
Janai Brugger, Brandon Jovanovich, Stephen Costello, Peter Mattei, William Burden, Malcolm Mackenzie, and Ryan Speedo Green star in Jake Heggie’s “Moby Dick.” Karen Kamensek conducts. Leonard Foglia directs.
Revivals:
Isabel Leonard and Aigul Akhmetshina lead Rossini’s “Il Barbiere di Siviglia” with Lawrence Brownlee, Jack Swanson, Davide Luciano, Andrei Zhilikhovsky, Nicola Alaimo, Parick Carfizzi, Peter Kálmán, and Alexander Vinogradov. Giacomo Sagripanti conducts.
Ailyn Pérez, Eleonora Buratto, Kristina Mkhitaryan, Gabriella Reyes, and Corrine Winters star in Puccini’s “La Bohème” alongside Emily Pogorelc, Adela Zaharia, Brittany Renee, Matthew Polenzani, Joseph Calleja, and Dmytro Popov.The cast also includes Boris Pinkahasovich, David Bizic, Luca Micheletti, Anthony Clark Evans, Gihoon Kim, Sean Michael Plumb, Bogdan Talos, Jongmin Park, Nicola Testé.
Benjamin Bernheim stars in Offenbach’s “Les Contes d’Hoffmann” alongside Erin Morley, Pretty Yende, Clémentine Margaine, Vasilisa Berzhanskaya, Aaron Blake, and Christian Van Horn. Marco Armiliato conducts.
Lise Davidsen stars in Beethoven’s “Fidelio” with Ying Fang, David Butt Philip, Magnus Dietrich, Tomasz Konieczny, Rene Pape, and Stephen Milling. Susanna Mälkki conducts
Yannick Nézet-Séguin conducts Strauss’ “Die Frau Ohne Schatten” with Elza van den Heever, Lise Lindstrom, Michael Volle, Russell Thomas, Ryan Speedo Green, and Nina Stemme.
Mozart’s “The Magic Flute” returns with Nimrod David Pfeffer and J. David Jackson conducting. Hera Hyesang Park, Emily Pogorelc, Kathryn Lewek, Aigul Khismatullina, David Portillo, Duke Kim, Will Liverman, Sean Michael Plumb, William Guanbo Su, Le Bu, Soloman Howard, Peixin Chen, Rodell Rosel, and Thomas Capobianco star.
Federica Lombardi, Jacquelyn Stucker, Olga Kulchynska, Rosa Feola, Marianne Crebassa, Emily D’Angelo, Elizabeth Bishop, Joshua Hopkins, Adam Plachetka, Micheal Sumuel, Luca Pisaroni, and Maurizio Muraro star in Mozart’s “Le nozze di Figaro.” Joana Mallwitz conducts.
Sonya Yoncheva sings Tchaikovsky’s “The Queen of Spades” alongside Brian Jagde, Violeta Urmana, Maria Barakova, Igor Golovatenko, and Alexey Markov. Keri-Lynn Wilson conducts.
Quinn Kelsey, Luca Salsi, and Michael Chioldi star in Verdi’s“Rigoletto” with Nadine Sierra, Erin Morley, J’nai Bridges, Rihab Chaieb, Stephen Costello...
Alexandra Kurzak, Lise Davidsen, and Sondra Radvanovsky star in Puccini’s “Tosca” with Seok Jong Baek, Freddie De Tommaso, Brian Jagde, George Gagnidze, Quinn Kelsey, and Bryn Terfel. Xian Zhang and Marco Armiliato conduct.
Michael Fabiano sings the title role of Verdi’s “Il Trovatore”alongside Rachel Willis-Sørensen, Angela Meade, Jamie Barton, Olesya Petrova, Igor Golavatenko, and Ryan Speedo Green. Daniele Callegari conducts.
Evan Rogister conducts Mozart’s “Die Zauberflöte” with Golda Schultz, Kathryn Lewek, Ben Bliss, Thomas Ebenstein, Thomas Oliemans, Shenyang and Stephen Milling.
(Text from operawire.com/sonya-yoncheva-...)
Best wishes from Munich,
Alexander Julius Leventov
For a long time, the MET was home to the best opera singers in the world. Now you look at the cast lists and realise that, as in Europe, the situation is getting dicey because there are hardly any really good voices left in the Verdi field. The situation is even worse with Wagner. I don't know where opera is heading, but the tendency is for singers to have to look good and sing loudly. Whether they are good is of secondary importance, the audience applauds more and more for effects and affected singing. The quality suffers as a result, as you can hear from the excerpts here. Mezzos without depth, sopranos without spinto quality and tenors in the wrong fach.
When it comes to The Metropolitan Opera always missing Dmitri Hvorostovsky !
Agree!
We were at his last appearance at the Met, the audience went wild.
Glory days will never come back again
Thank you, very much for the posting.
I'm extremely happy they are doing this production of Queen of Spades!
Same! With this amazing cast! 😍
I love “Queen of Spades “
Saw it about 20 years ago in Teatro Regio di Torino. Great acoustics after the fire and renovation, only the old facade and adjacent rooms had been saved.
How much we miss Dmitri Hvorostovsky in Queen of Spades(and all the other leading roles he performed in)
Looking forward to seeing some of these. I'm glad they are doing some new Operas, and I always wanted to see Antony and Cleopatra. Thank you.
Pity the MET is no longer a reference for the rest of the opera world. One day the leading scene, today mediocrity.... Fabiano singing a Manrico...my God is everything a disaster
Stop being so dramatic. The Met still is a famous institution. Show us what you can do.
@@samueljaramillo4221 opera wouldn't be opera without drama queens... 🤣
Looking forward to some of these productions.
The Metropolitan Opera is a shadow of its former self and it looks like 2024-25 Season is going to put yet another nail in the coffin of death.
The Met will be around long after your gone.
@@samueljaramillo4221Maybe not.
Opera everywhere not just the Metis a shadow of its former self, above I refer to it as a death march. It's sad, but I'm beginnnnng tothink what will they do with this giant, wonderful house?
@@walterplante1418
Yes it will.
@@samueljaramillo4221 I most likely have been going to the Met for more years than you have been on the face of this earth but to be completely clear about something. Opera is, and will always be one of the most extraordinary musical experiences in the world of creative entertainment, but if ticket sales continue to drop as in the past years it is going to be tight to keep financially supporting such institutions. This year the Met has had to take one of its largest sums, $50,000,000.00 from its endowment fund to just stay afloat. This problem of ticket sales dropping is not just a problem at the Met, but it is shared by other Opera Companies, such as Dallas, Chicago, San Francisco, Miami, and even Bayreuth, where the arts are supported by the government. Years ago to get seats at the Met for a premiere was a rarity, but today, not a problem at all. One thing that many companies have had to swollow is that the public is not blown away by experimental modern theater and over-the-top conceptions by Stage Directors which at times are absurd, and the public shows their dismay by staying home. Just read the statistics that are available on the Met and the percentages of sold tickets last season for each production. In closing, I thought it was interesting to see the old classical Franco Zefferilli Production from 1963 of LA BOHEME making such a hit with the audiences of New York yet again. I am all for new operas being produced, crazy stage director conceptions, sets, etc., but not at the risk of losing an art form that I have loved for more years than I want to admit. I don't need a shitstorm of reply, this is just my humble opinion.
De entrada,hay voces que hacen añorar a las bonísimas de las generaciones anteriores.
Right?? Why do the men in this promotion sing so terribly, as though they all studied with incompetent teachers?? Pretty Yende (South African coloratura) is totally amazing, but the rest….my goodness!
I have given up on the Met.
Then don’t attend operas in Europe, it’s full of regie productions
That’s your choice
Nice season, but quite disappointed with the choice of works that will be broadcast in Live HD. No Frau ohne Schatten ? No Anthony and Cleopatra ? no Queen of Spades ?
The broadcasts have had to be reduced as a cost-cutting measure. A sad state of affairs.
How did you know which ones will be broadcasted?
@magopotter because the broadcast program has been out for a while already.
Shame on the Met for breaking with Anna Netrebko over something unrelated to art. And yet the previews for the new season have the audacity to show pictures of their previous performances. Shame on the Met, but shame on Peter Gelb.
Thank’s. 🎧
Lots to look forward to, but I saw Anthony & Cleopatra here in San Francisco, and it rhymed with Sphinx.
The music and singers sound wonderful ... but the sets and costumes, for the most part? Opera isn't just glorious music and performers.. its costumes, atmosphere... great, appropriate sets. I don't buy an opera to see people dressed up in modern clothes when they are supposed to (for example) Renaissance Italy or ancient timeless Egypt. I buy an opera to be transported for a few hours into a beautiful alternate world, Opera is escapism of the best kind, or should be. (PS. I don't have the money nor opportunity to go to opera, so I buy the best DVDS I can find.)
Amen! I detest these modern craptaculars which are being put upon the public today. So sick and tired of industrial wasteland sets, grey suits, gunny sacks and wacked out "ideas" from lazy and unimaginative directors, producers and designers. Might as well do concert opera. Just imagine how bankrupt Hollywood would be if they did the same thing? The Lord of the RIngs set in Brooklyn, Downton Abbey in the trailer park or Game of Thrones in a prison: The very idea is simply revolting. Oh, well c'est la vie.
I just saw The Tales of Hoffman at Palm Beach Opera and it was fabulous! I understand that the Met does these same version so it should be wonderful!
Pique Dame is the highlight of the season.
Die frau ohne schatten not live HD 😱😭😭😭😭😭😭😭😭😭😭😭😭😭
I am so sad about it! 🥲😪
Good program and worth attending. Not enough Sondra for me, will go to Europe and elsewhere to enjoy her art.
What will be shown on kino?
I'd like to see well staged Rameau. Alas, we may have to travel to Montreal for that, in 2025. They dont have it in '24 either.
I didn’t know they performed Rameau in the US outside the odd tour from Les Arts Florissant. I live in the UK and the only company to do Rameau recently was Glyndebourne who did Castor et Pollux and Hypollite et Aricie.
@@peteradaniel They don't do Rameau in Estados Unidos. More's the pity.
You really need a smaller house for French Baroque. Most of the major opera venues in the US are WAY too big for those operas. I speak, BTW, as a fervent admirer of Lully, Rameau, Mondonville, Desmarest, and on and on. Check out the Blu-Ray of Lully's ATYS. Sublime!
William Christie’s are still the best productions going, because his singers have such amazing technical skills. There are a few newer French groups that are really good, too….I especially admire Sabine Devielhe’s gorgeous voice!
Paris Opera is going to stage Castor Et Pollux in January 2025! I still hope Hippolyte et Aricie's 2012 production has a revival. However, I think if the Met ever performs Rameau, it would be a catastrophe.
I love this lineup. Ainadamar looks interesting. The revivals are great - Rigoletto with Nadine Sierra and Quinn Kelsey will be a real treat.
I have seen the Spanish Opera in the UK. It was very interesting. The staging was innovative and the singing outstanding.
It was done at the Santa Fe Opera a few years ago.
@@samueljaramillo4221on TV
Did I miss anything or are there no bel canto operas this time?
Unfortunately it’s true 🥲
Well, there’s really no one around who can actually sing bel canto anymore so what’s the point?
No Handel or anything barocco. No Wagner.
What a pathetic, anemic season!! It has been going from bad to worse. Again with 13 or 15 Bohemes, Toscas, how many Magic Flutes are Needed? And spending millions on the new stuff that will not last more than a season, maybe two if lucky, is insane. From what I have heard of Antony and Cleopatra on UA-cam it will make Barber’s misfortune sound like a towering masterpiece. I have been going o the Met regularly since 1966, but those days are long gone, and I doubt that I will be attending much longer. What happened to the old magic of gorgeous productions and great voices? Instead we are served up unappetizing unmusical crap like Marnie, The Exterminating Angel, Ughnaten, and the like. And then there is the insanity of setting Lucia in the Rust Belt, or Faust in an atomic bomb facto😮ry. Thanks for nothing Peter Gelb.
its a interesting season, i dont see lot of italian or french operas, and its kind of strange to get used to new titles in English, just my perceptions, it´s about to listen and understand them. I am new on this repertoir. But I agree Strauss and Tchaikovsky productions will be very interesting
What do you mean? Plenty of Italian operas in the lineup.
I'm especially looking forward to 'Die Frau Ohne Schatten', 'Picota Dama', 'Salome' and the superb Yoncheva and Garanca among others. I hope Yannick is on point with 'Frau'
Am I ever going to see Akhnaten live again?
Wow! So many new faces.
And bad ones
Where is the cupcakke queen of the night song ? I can’t find it
No Wagner?
Disappointing and kind of infuriating.
How many adequate singers are there that can manage for Wagner?? Some European operas are now allowing opera singers to use mics because the singers can’t sing over the orchestra. They all sound like the men singing here, and that’s not meant to be a compliment. I basically only listen to William Christie’s singers, because their technical skills are so incredible, or they wouldn’t be able to manage the vocal gymnastics and ornamentation. There are some excellent French singers, as well
@@spacepunk2001
Why don’t you manage an opera company?
Une maison d'opéra aussi prestigieuse que le Met devrait prendre des risques et présenter une oeuvre ou deux rares et offrir à son public de belles découvertes au lieu d'enchaîner des tubes du répertoire que tout le monde connaît par coeur... un opéra de Meyerbeer de Halévy ou des titres du bel canto qu'on a peu l l'occasion d'entendre etc... bref politique culturelle incomplète !
You need to have singers that can sing the roles in a lot of those opera
Of course . Mais en Europe nous avons eu l opportunité de voir ces ouvrages montés avec d'excellents chanteurs francophones ... john Osborne, M.Spyres, karine Deshaie. Liette Oropesa etc etc ... Le Met peut le faire aussi !s@@samueljaramillo4221
Robert le Diable and Huguenots would be really interesting for the Met. But I think there are few people that can sing those.
I can only think of Lisette Oropesa and Erin Morley, perhaps Damrau. Bryn Terfel would be a great Bertram.
Nadine Sierra’s is one of this generation’s finest young sopranos and seems to light up the stage whenever she is singing. Sierra’s coloratura is effortless and her voice has a lovely fluidity. Opera Magazine Readers’ 2023 Award was presented to American soprano Nadine Sierra, in the only award of the evening voted for by the public.
For 30 plus years I would fly to NYC for a week of 4 or 5 operas but stopped going as the crime in the city and deteriorating infrastructure made it dangerous. I instead go to Vienna for a week of opera. I just yesterday returned from a week of 5 operas in a safe city. Plus these new operas which are used to hook a younger audience are not worth my time or money .
Интересно🎉
That’s Allan Clayton, not David Butt Philip as Florestan...
That’s correct. Sorry for the mistake.
well, it’s a better season than the current one- because it couldn’t get any worse than this one.
The formula seems to be "new pieces + endless repeats of the same Puccini pieces". SOME of the new pieces seem worthy of permanent status in the repertory, but some need "testing in the provinces". Wagner, Strauss, and Janacek were "staples of the house" under Maestro Levine. Next season they have 0,2,0 performances. Puccini? How about "Trittico", 'Manon Lescaut" or "Fanciulla" for a change?
Next season is better, but had only one direction to go.
I hear about financial troubles, but some seem self-imposed. Directors who think they must distort the composers' directions?? Costly poppy fields that are used once? Commissions that are not tested? The assumption that every piece needs "updating" is just plain wrong. Who are they trying to please?
The points about the #s of operas, and what's transmitted in HD, are well taken. My opinion? Yes, but they're not shy about asking for my money.
@@donaldjones5386 you forgot about the Machine, which cost a few billions and will never be used again. Gelb is an incompetent dweeb, who was a failure at Sony and about to get fired there, knows nothing about good singing, and only got this job because of his rich, influential father.
@@donaldjones5386 don’t forget that useless Machine, which is going to be junked soon and never used again, in spite of costing a few billions. remember that Gelb is an incompetent nepo baby, who only got his job because of his rich father.
18 is a considerable reduction in productions presented. Yikes! It was 30 in Volpe’s final season of 2005-2006. Now it’s nearly halved. Somethings going very wrong at the Met.
Yep. His name is Peter Gelb
No, it's an aging audience along with post-Covid audiences that have not returned.
Pity they can't find A+ tenors to fill so many of their productions (outside of Fabiano). I think it's great they are doing so many new operas to broaden our horizons.
@@billstrzempek7045La Scala is always packed and sold out often months in advance. So are other leading European companies. But they open seasons with Don Carlos with Anna Netrebko, not some quasi-contemporary garbage about the “kidnapped Ukrainian children” commissioned from No one & Nobody from Ukraine. But yes, welcome to the post-Netrebko Met - an increasingly provincial, irrelevant and empty shell of its former self.
@@billstrzempek7045New operas are a good thing, but many older operas that we love have to be bumped out to make room for them. I do agree about the lack of fine tenors.
@@kennethwayne6857they’ve also massively reduced the number of performances per season. Last time I saw programming like this was at NYC opera. It’s not healthy.
We do NOT need a lot of extremely mediocre productions. Jus do 8 to 10 HIGH QUALITY ones and keep the audience happy. QUALITY over QUANTITY !!!!! This comment from someone to have been proud of the Metropolitan Opera for so many years. I have not attended in the last three years !!! In addition, STOP deceiving the audience by mixing old productions with new ones on the trailer !!!
I agree. I don’t attend anymore because of the crazy new stagings. Lucia! Rigoletto!, etc. I don’t want to ruin my memories of the great productions that the met used to produce. Such a shame.
If the eye does not see what the ear hears, you've got problems, and that's the case with most 'regie' theatre. It's a perversion. Gelb is shoving 'regie' down the audience's throat. They [WE!] don't like it, but he is god and he is RIGHT by his own lights.
Because of your archaic tastes opera won’t survive. All of you. The Met is exhibit great courage inserting these new works into their season. I’m proud of them.
@@marlenehartley7742can't say anyone noticed your absence, dear
ease up on the capslock - nothing you've said is profound enough to require capitalization
A season at the Met is a like a history of opera.
Now, more like the death march of opera
It seems your not happy with anything.
Ha-it depends what you define as anything? Having had opera and the Met a huge part of my life for decades I'm very sad that the artform in quality and significance has declined so badly. I'm sure there are still some "nice" performances but there's little that is compelling to me-but all of that is also part of the obvious lack of importance of great art in this modern world-you can;t dsipute that?
When I see Pace, Pace (and in this repertoire Davidsen has a good voice but not a great one) being sung in a set that is the NYC subway what is there left to say?
Salome looks interedting
Why is this trailer showing a flash from “Armida” with Lawrence Brownlee and Renee Fleming??
It’s just a picture showing the singer Lawrence Brownlee
There are so many I haven't seen/heard at all, and others I want to revisit. But I live in Missouri and depend on the Live in HD series to satisfy my appetite. I hope at least a couple of the lesser-known operas will ne chosen for that.
Love the season! With those 3 Toscas, I’ll need to see all three! And Pique Dame…. and and and!
But most especially, Michael Fabiano’s debut as Manrico in Trovatore!
Looking forward to seeing Grounded. Saw it as a one woman play with Anne Hathaway at the Public a few years back. Luckily it is presented Live in HD. I used to be able to go to the Met, but am having knee issues, and a bus trip into the city is not currently in the cards. But I go to see as many of the Cinema showings as I can. I happened to really like the last Lucia, and the Carmen from this year.
É pena não terem lembrado do Sesquicentenario do Salvador Rosa que foi maior sucesso que o Guarani. Teve sua estreia no Teatro Carlos Fenice de Gênova.
hopefully "Die Zauberflöte" is performed in German not English!
One in English (December) and another one in German - but still ridiculous to put two Zauberflöte in one season - personal opinion
Die Zauberflöte is a German "SINGSPIEL" and should never be sung in English at all. But thank you for your advice. How I wish they would perform "Der Schauspieldirektor" by Mozart at the Met.@@AlexanderJuliusLeventov
I still cannot forgive the management for not offering seats for resale that air traffic problems forced me to abandon. $500 down the drain. They kept the money. I dhall never go there again.
Glad to hear that Nadine Sierra will be singing Gilda at the Met this season!!!
No Marina? No Saioa? No Lisette?
Saioa has never sung at the met and that’s a crime against humanity. They should also be engaging Martin Muehle, Anna Pirozzi, Jessica Nuccio and Ernesto Pettti. These are all far better options than the mediocrity that is regularly allowed on that stage
Where's Joyce?
I thought Joyce, Renee and Kelli were doing The Hours again in May.
@@susanrooney4702There should be a met opera radio broadcast schedule on when it is
I will happily be enjoying Anna Netrebko in Naples soon, La Gioconda, with Jonas Kaufmann, and God willing, Anita Rachvelishvili. Just saying… 😊❤
You support a singer that supports Putin?
She doesn't support Putin for a long time already!@@samueljaramillo4221
I am still in shock at her horrible Leonora, Adriana Lecouvreur, and Turndot.
@@raarnoldra "Turndot"?????😅😅😅😅
Do they hate Baroque at the Met?
When will the audience grow tired of the same Puccini operas every season?
Baroque dose not sell. They need to fill 3800 seats. La Boheme, Aida and Tosca do that because that’s popular opera. I adore Handel and Rameau but Handel barely fills Covent Garden when they do it and Rameau is only performed in France. I can’t think of any other baroque opera composers, popular in the post war repertoire. Glyndebourne have done Rameau maybe once in the last 30 years and Handel can fill 1200 seat theatre, but ticket sales lag over the run.
@@peteradanielThe last time they filled 3800 seats was when Netrebko was singing. The Met’s Aida and La Boheme are at best 2/3 full.
They are reliable ticket-sellers, and can capture a lot of first-timers because they pose no challenges. Baroque is a specialised taste, and needs a smaller venue like Glyndebourne. We lovers of the French Baroque have to content ourselves with the - fortunate - proliferation of new recordings of Mondonville, Lully, Desmarest, usw.
Because the Met Opera auditorium is far too huge for baroque opera. And the Met Opera orchestra do not play period instruments. Go to the Boston Early Music Festival for that.
im from south america i adore puccini because his arias are beautiful.
No Wagner? At least there’s Die Frau.
Jeszcze się taki nie narodził co by wszystkim dogodził. Zdegustowane towarzystwo. Nie dziękuję. Brawo Met.❤.
3:52
This is so miserable of you, Mr leventov, to put netrebko in every second or third image, even if she is not there and, doesn't seem to be in the nearest future.
I wouldn't pay much to attend performance at Met which has tarnished its reputation.
Stop being so dramatic. No one is forcing you to.
Onde estão os bons cantores??? Atualmente só tem péssima qualidade em geral...
From bad to worse every year
I see you're doing the opinion thing everywhere...of course there will be some good performances, but the survival of the art form, this house it's up in the air. I think people obviously older who saw opera when it was still great-and there were a dozen world class voices at a given moment know what is missing
@@labienus9968
Yes.these are all opinions, not facts
No they are an informed point of view which can be argued. You on the other hand say nothing, What would you do without the word opinion.
@@labienus9968
Don’t you talk down to me. I am a educated person with two degrees. Juilliard and Curtis. You can have your point of view and I will have mine. I have no desire to argue with you or anyone else. End of conversation.
How childish-I always love these people who declare the conversation at an end, after they get, what do you call it, their last licks in.
For someone with all your degrees (so you say) you have remarkably little to say.Yes, yes opinion
How's this-to me it is self-evident that opera today is sadly a shadow of what it was 20 yrs., not to mention 30-40 yrs. ago. It is a complex subject-but clearly the number of opera companies that are no more, the symphony orchestras that have folded,indeed the very marginal role that high art means in the modern world are all parts of that-oh, the Met opera itself is on a lifeline consuming its own endowment. Let's see what your education has to say about that???
COREOGRAFIE INGUARDABILI
Enough with the Barlett Sher productions already.
Actually, in terms of "traditional" productions, they are aging rather well, so do the McVicar ones...
The Met was murdered many years ago. The corpse continues to rot.
Your opinion not a fact.
A kind of unsavory way to put it, but there's a lot of truth in it.
I think it's going through a terrible trend with its productions. I'm finding myself attracted to the older productions. I've noticed that with European opera houses too. I'm postponing buying certain operas until I find the right productions. -----For what is it is worth. .. Shakespearean plays are going through the same awful misery of bad sets and worse costumes. I still can't seem to find a 'Hamlet' that pleases me! For a while, the Globe was doing great work, now, their most recent attempt was woman playing Hamlet.Not a clue why.
@@kathleenhensley5951 I agree totally. I worried that it was my age, that I only liked opera when I was first learning about it. But, no. No. When I began to listen and learn I liked many singers and productions that had been around long before I was born. I just think it may be over.
@@labienus9968 You know, I thought about how to say it. I didn't want to elaborate so that was what I came up with. It seemed to fit! :))
Davidsen singing Tosca & the Fidelio Leonora worries me...
She’s a lyric soprano who risks pushing her voice by taking on dramatic roles. Anna Netrebko ruined hers doing the same thing.
The video isn't going synchrone with the operas! Not very well done by the marketing department of the MET!
For me, it's going synchronized. Sorry to hear that it didn't work out on your electronic device. Also, please note that the video wasn’t made by the MET, and my channel is independent from any opera company :)
@@AlexanderJuliusLeventov And I see twice ' die Zauberflöte'.
It has nothing to do with my devise. Am just using my cell phone.
Thanks for your polite reaction! 👍
@@hectorberlioz1449 there will be indeed two different productions of "Die Zauberflöte" in one season :)
It’s not done by the Met
Some interesting new, younger voices being cast (and NO Netrebko-hopefully they put that out to pasture). So maybe there is hope.
Just another inferior season with grossly inferior voices .... Third class music !!
It’s your opinion,not a fact
@@samueljaramillo4221 Damn right. Also, my ticket money.
Will the Met be next? Miami Lyric Opera is ringing down the curtain after 22 seasons, and companies aroudn the world. Very sad, and the way the Met is living off its endowment-how much longer can it go on? These garbage productions, excuse me Regie, don't seem to be the answer, we can't offer great vocies when there are simply none around (or one or two) Gelb's job isn't easy, but let someone else try it for god's sake
These productions look and are awful. They've reduced Die Zaüberflöte to a few duets between Mamagena and Papagena, and putting Susanna in bed is dumb, and they've cut out the good parts of Barbiere, and i don't like the looks of Salome. They only need one set with a cistern, 7 veils, an erotic dance, and Salome writhing over the head of Jokannon.
MET without Anna Netrebko, is not the same
Not the same without Anna Netrebko? I wouldn’t sell my soul for it
You support a singer that supports Putin?
@@allajavoronkova
Not nonsense,fact. She loves Putin.
It's better.
@@allajavoronkova
You support Putin?
The trolls are not happy. Throwing tantrums like a toddler when they don’t get what they want. Opera has changed everywhere, not only at the Met.
So many bad singers in the wrong roles…
I guess you know everything or think you know everything dragon.
@@samueljaramillo4221No,You think that You know everything, troll ))))
@@allajavoronkova
Why don’t you get lost. Your the troll.. Get Lost! End of conversation.
@@samueljaramillo4221 You need a doctor really...And reed biography of Elizabeth Schvarzkopf )))))Bye!
@@allajavoronkova
You need the doctor. Learn how to spell. And I told you to get lost.
Российские певцы рулят!!!!
No.
who’s singing “una voce poco fa”? she sounds awful!
Boring season.
Gosh, I think every man singing here was horrible….no legato lines, just fat, thick, dry, nonsense, all “scuro” and no “chiaro,” _whatsoever!_ No wonder I so rarely listen to opera, unless it’s Baroque, and sung by anybody affiliated with William Christie. His baritones/basses and tenors sing with incredible technical beauty, as well as the women, and he doesn’t use countertenors; I cannot stand that sound, either! There are other singers I love to listen to, but they don’t seem to sing at the Met.
Your opinion not facts
One the best seasons , i sapport the met, stop bashing with negetive comments, i adore peter gelb❤❤
Nice try Peter
@@lillian6076 Haha!
He destroyed Sony Classical and went on the ruin the Met. What's not to like.
you are not paying attention that’s for sure. Gelb doesn’t know good singing if it hit him in the face.
@@sterlinglewis5700He got rid of some of his biggest box-office stars for the worst possible reason- politics. Not bright.
Boycott NY everything!
This is what happens when you let commies run opera houses. You get 💩 for 🎼
Get lost troll
ESPANTOSA TEMPORADA...,
The Met has lost it's way.
No, you want the same old stuff. It’s called change.
@@samueljaramillo4221 It's called decline
@@labienus9968
No, it’s called change. Every theater is going through it.
@@samueljaramillo4221 You're back!-you must be younger and missed it,sorry. Art forms do end. Sure maybe something else is developing out of it-that's possible- but something has happened
@@labienus9968
Opera will around in one way or another long after your gone. Yes something happened. It’s called covid. I attend opera in this country and Europe. It’s all very different. It’s changing for the worst. Especially in Europe. Your seeing more and more bare stage modern terrible absurd regie productions. Theaters don’t have the funds and financial backing they once did.