Kathryn is THE QotN of the moment. She is spectacular in the role. However, I wish the Met would put her in some other operas and productions. QotN is a role in which a soprano can be pigeonholed.
@@nostoon4332 it's a role that sopranos ruin their voices on when they aren't developed fully and have the right voices for it. This is a lyric soprano trying to sing at the extremes of her range which is neither Impressive nor good to listen
@@nostoon4332 What a stupid comment without any basis. If the singer has no technique and is therefore wrongly categorized in a fach in which she/he does not belong (in this case we have a mezzo-soprano), the role can destroy you, but so can any role destroy you. So is it with Carmen, which can and will destroy a soprano. Or a lyrical role will destroy a small soubrette. All those cases are equally devastating if sung by a wrong voice. It is true, however, that the Queen completely destroys all voices (Except Gruberova, who was actually a coloratura), or Mozart's in general, because the singers are not properly categorized and do not have sufficiently refined technique.
The Met costume shop ran out of money, talent and fabric for some of the costumes in this production. That must explain the underwear. Rather, they have been squandering resources on keeping their showboat MD all lit up like a Christmas-Tree-in-poor-taste.
Kathryn Lewek was an AMAZING Maria Stuarda in Edmonton. Exceptional voice and sublime musicality. A superb actress and a lovely person to boot. If you ever have a chance to hear her sing - DO NOT MISS THAT CHANCE.
Хорош спектакль, если надо глаза закрывать и только слушать! И кто в здравом уме придумал классику исполнять в шортах, дальше, видимо, будет купальник, а потом и без него, чего уж..
What in the world is this? The singing is great, but what's with the "thrift store-meets-gaming in your mother's basement-meets-bulk trash pickup day" art production?
she sounds great but Met you are really letting us down with these productions like please hire a drag Queen or something to direct the next Magic Flute cuz y'all look busted af
Spectacular singing. Why does she look like Azucena? Why does she use a cane and wheelchair? Why is he in his underwear? In this escape from naturalism into absurd abstraction, McBurney has destroyed Mozart's opera. Ugh.
I have to admit the poetic irony is lost with these costumes. What made the original scene so profound was that this supernatural, coloratura soprano star is giving the prince character his quest. In *every* opera till that point, that was the convention that was the expectation. Then when the story flips and we see her evil side, that was a deviation from the form. It inspired the audience to think differently. And this production I don't really see as all that inspiring. The voices and instruments sound absolutely fantastic. A friend of mine and I have been talking going to the Met again one day. This *was* on our list of possibilities, but I hate to say it I'm giving it a no vote now looking at this stage.
It's a production from Amsterdam, which has been staged there (and in many other places) to great acclaim several times. I've seen it once a few years ago, it's good fun, plays with theatrical conventions, intelligent, and manages to retain a touch of magic. I didn't like everything (it is pretty grim, I'm not sure who these people one stage are or are supposed to be, but that latter issue applies to any Zauberflote in some sense). Give it a go!
I just came back from watching this. I didn't see the queen of the night as being a villain until very close to the end. I saw her as the oppressed, and Sarastro as the oppressor. The way they were all dressed in suits and kind of presented themselves as being the self declared arbiters of moral principles - and also the gender divide the Queen of the Night and all the others with her is being women, and Sarastro as being kind of like this patriarchy. When she conspired with Monostatos (who had previously tried to rape her daughter) what's where she started to become sus, and this was very close to the end. I felt like Sarastro, and the ideals that he and his companions presented, we're not so much wrong as they were reflecting a very limited view and requiring dialogue with other parties. A bit like the Protestant ethics of colonizers, you know? When Sarastro triumphs at the end, I wasn't quite sure how to interpret that. I'm used to modern cinema and literature as being very morally ambiguous, which I kind of started with the superhero films and the theme of "which one of us is really the villain?" I was really quite confused when at the finale QotN joined Sarastro in celebrating his triumph in the final scene, moments after being crushed by the platform.
If the man in the video is Tamino, I’m sorry to say he does not look anything like a romantic hero, much less a Prince! And that has NOTHING to do with the colour of his skin. However, the idea of portraying the Queen of the Night as an old, physically debilitated woman is a masterstroke.
A little too screamy for my tastes and not enough warmth in her timbre. More forward in the placement than I prefer. She hits all the notes, and pounds that high F, but she’s screaming it.
Total confusion and Disaster. Singing and the staging. Apparently, any mezzo-soprano and soubrette can sing the Queen these days(coloratura roles). I even heard her live once, or better to say I didn't hear her, because it's hard to hear soubrettes these days without microphones, so I left after 15 minutes. Back then she had a super small voice, but now it's even smaller. She has never been able to use her diaphragm, not even once in her life, so everything is sung so thinly airily with super too fast tempos. Just air, air and air. How many microphones did it take to record this? By the way, someone in the background, perhaps in the orchestra, speaks something or gives instructions and is heard loudly in the natural tone of speech, which means that the singer's voice is almost completely inaudible. Even with a microphone! Congratulations TheMet, you are obviously only picking up the worst possible.
Kathryn is THE QotN of the moment. She is spectacular in the role. However, I wish the Met would put her in some other operas and productions. QotN is a role in which a soprano can be pigeonholed.
It's more of a role a soprano sings briefly. She'll ruin her voice if she sings it too much or too long.
@@nostoon4332 it's a role that sopranos ruin their voices on when they aren't developed fully and have the right voices for it. This is a lyric soprano trying to sing at the extremes of her range which is neither Impressive nor good to listen
@@nostoon4332 What a stupid comment without any basis.
If the singer has no technique and is therefore wrongly categorized in a fach in which she/he does not belong (in this case we have a mezzo-soprano), the role can destroy you, but so can any role destroy you. So is it with Carmen, which can and will destroy a soprano. Or a lyrical role will destroy a small soubrette. All those cases are equally devastating if sung by a wrong voice.
It is true, however, that the Queen completely destroys all voices (Except Gruberova, who was actually a coloratura), or Mozart's in general, because the singers are not properly categorized and do not have sufficiently refined technique.
She has been singing this role for almost a decade without her voice degrading, so ...
Katie is just ✨sensational!✨
Thank you so much!
Loved listening, wonderful, wouldn’t go and watch though.
She's spectacular!
Marvelously sung, but the Met gave up the magical Julie Taymor production for THIS??
Despite on endless moaning on awful modern productions, I absolutely love this Queen! ❤️🔥❤️🔥❤️🔥
Just coming back from watching this at the cinema. I’ve never heard this sung so spectacularly. I cried.
Same!
Which theater is showing it in NY?
Magnífica, que potencia!!!👏👏👏
The Met costume shop ran out of money, talent and fabric for some of the costumes in this production. That must explain the underwear. Rather, they have been squandering resources on keeping their showboat MD all lit up like a Christmas-Tree-in-poor-taste.
Que perfeição!
I love her voice. It sounds big in the house.
AMAZING performance by Ms. Lewek!!!
Kathryn Lewek representing Connecticut yo
Bravissimo!
Kathryn Lewek was an AMAZING Maria Stuarda in Edmonton. Exceptional voice and sublime musicality. A superb actress and a lovely person to boot. If you ever have a chance to hear her sing - DO NOT MISS THAT CHANCE.
She was crap as Maria. She didn't understand the role
Met’s really going downhill with these modernized productions.
This production is quite literally amazing, and it was a financial success too
Augen zu und genießen- bravo!
Хорош спектакль, если надо глаза закрывать и только слушать! И кто в здравом уме придумал классику исполнять в шортах, дальше, видимо, будет купальник, а потом и без него, чего уж..
Bravissima! Ma questo montaggio così moderno .... 🙄
Bravo Ms. Lewek! Wonderful singing!
What in the world is this? The singing is great, but what's with the "thrift store-meets-gaming in your mother's basement-meets-bulk trash pickup day" art production?
This is the met sadly. I havent seen a good staging in a while
@@Man-xf4jv it's a shame. I'd rather see them default to concert staging than continue circling the creative drain like this.
Met gone woke
And the Black guy in his underwear?
@@brucekuehn4031 Larry Brownlee is one of the world's greatest tenors. That underwear moment was...unflattering.
she sounds great but Met you are really letting us down with these productions like please hire a drag Queen or something to direct the next Magic Flute cuz y'all look busted af
😂
KathrynLewek está formidable, lo mejor, a pesar de la puesta en escena que desilusiona. ¡¡¡De mágica, no tiene nada esta falta!!!
Reutilizaron el escenario de la producción de ópera MET OPERA 1985
Another production trying to be different?
tryng to be horrifying
@@gabrielsilahian2723 And succeeding very well at it 😂
Yes. And?
@@belphegor_dev Why?
I loved the way how the stage director percevied the coloratura scales as a way of enchantment over Pamino, they sound like an actual spell !
Spectacular singing. Why does she look like Azucena? Why does she use a cane and wheelchair? Why is he in his underwear? In this escape from naturalism into absurd abstraction, McBurney has destroyed Mozart's opera. Ugh.
I have to admit the poetic irony is lost with these costumes. What made the original scene so profound was that this supernatural, coloratura soprano star is giving the prince character his quest. In *every* opera till that point, that was the convention that was the expectation. Then when the story flips and we see her evil side, that was a deviation from the form. It inspired the audience to think differently. And this production I don't really see as all that inspiring. The voices and instruments sound absolutely fantastic. A friend of mine and I have been talking going to the Met again one day. This *was* on our list of possibilities, but I hate to say it I'm giving it a no vote now looking at this stage.
I get that but I took this approach as the queen is using her age and “weakness” to fool tamino into trusting her and then using it against him.
It's a production from Amsterdam, which has been staged there (and in many other places) to great acclaim several times. I've seen it once a few years ago, it's good fun, plays with theatrical conventions, intelligent, and manages to retain a touch of magic. I didn't like everything (it is pretty grim, I'm not sure who these people one stage are or are supposed to be, but that latter issue applies to any Zauberflote in some sense). Give it a go!
I just came back from watching this. I didn't see the queen of the night as being a villain until very close to the end. I saw her as the oppressed, and Sarastro as the oppressor. The way they were all dressed in suits and kind of presented themselves as being the self declared arbiters of moral principles - and also the gender divide the Queen of the Night and all the others with her is being women, and Sarastro as being kind of like this patriarchy. When she conspired with Monostatos (who had previously tried to rape her daughter) what's where she started to become sus, and this was very close to the end.
I felt like Sarastro, and the ideals that he and his companions presented, we're not so much wrong as they were reflecting a very limited view and requiring dialogue with other parties. A bit like the Protestant ethics of colonizers, you know?
When Sarastro triumphs at the end, I wasn't quite sure how to interpret that. I'm used to modern cinema and literature as being very morally ambiguous, which I kind of started with the superhero films and the theme of "which one of us is really the villain?" I was really quite confused when at the finale QotN joined Sarastro in celebrating his triumph in the final scene, moments after being crushed by the platform.
💎
BRAVA!
All sorts of no. From orchestra to staging, from cast to direction (not to mention zero musical taste or diction) - quite awful all around
BRAVA
The subtiles all wrong?!
The best Queen of the Night
If the man in the video is Tamino, I’m sorry to say he does not look anything like a romantic hero, much less a Prince! And that has NOTHING to do with the colour of his skin.
However, the idea of portraying the Queen of the Night as an old, physically debilitated woman is a masterstroke.
A little too screamy for my tastes and not enough warmth in her timbre. More forward in the placement than I prefer. She hits all the notes, and pounds that high F, but she’s screaming it.
Turn off your troll-o-phones and she'll sound better.
То ли денег на костюмы нет, то ли что.. Но смотреть неприятно.
Total confusion and Disaster.
Singing and the staging. Apparently, any mezzo-soprano and soubrette can sing the Queen these days(coloratura roles). I even heard her live once, or better to say I didn't hear her, because it's hard to hear soubrettes these days without microphones, so I left after 15 minutes.
Back then she had a super small voice, but now it's even smaller.
She has never been able to use her diaphragm, not even once in her life, so everything is sung so thinly airily with super too fast tempos. Just air, air and air.
How many microphones did it take to record this? By the way, someone in the background, perhaps in the orchestra, speaks something or gives instructions and is heard loudly in the natural tone of speech, which means that the singer's voice is almost completely inaudible. Even with a microphone!
Congratulations TheMet, you are obviously only picking up the worst possible.
It’s an early stage rehearsal and in opera rehearsals there’s often several voices to be heard.
Any mezzosoprano??? Oh please 😂😂😂you made my day
That’s a lot of ignorant rubbish in just one comment, isn‘t it?
This is not a small voice.
Or do you mean in general?
And she’s a soprano,
You know nothing about voice!!!
But how confidently writing you are!!!