![]() ![]() ![]() ![]() They weren’t a priority for James Levine, who presided over only a few during his four-decade artistic reign. “What we learned is that it really needed time in certain places on either side of the scene change - more time to settle, so it’s not just a series of scenes together.” “The piece has a lot of scenes it’s very cinematic,” Robinson said. In its audience-pleasing variety - expansive solos mingle with foot-tapping dances - “Fire” evokes what might have come had he succeeded.īut the creative team agreed that some tweaks were needed after St. Louis premiere for The Times, Anthony Tommasini wrote, “Restless vocal lines shift from plaintive lyrical phrases, to sputtered outbursts, to a style that seems a jazz equivalent of Italianate arioso.” Otto Kahn, an influential Met board chairman, wrote in 1925 that he had tried to interest popular jazz eminences like Jerome Kern, Irving Berlin and George Gershwin in writing operas for the company. “I didn’t want people to come in and think they were going to hear the Basie band,” Blanchard said. (One result is a notably more natural setting of English than in many contemporary operas.) Even with a jazz quartet in the pit alongside the orchestra - Blanchard’s answer to a Baroque continuo - there’s little classic swing in the mix. Transmitted to 70 countries and hosted by Metropolitan Opera stars, this award-winning series provides an unprecedented behind-the-scenes look at the world's greatest opera house.Jazz technique is the foundation of Blanchard’s composing style, which begins with charting the rhythms of the text and a series of chord progressions, from which the melodies emerge. Returning favorites include two of Verdi's beloved masterpieces: the ever-popular La Traviata with a vibrant production by Michael Mayer's the glorious Shakespearean comedy Falstaff, conducted by Maestro Daniele Rustioni and Strauss's bittersweet Der Rosenkavalier, with conductor Simone Young overseeing Robert Carsen's fin-de-siècle staging. In May 2023, Nathalie Stutzmann makes her Met conducting debut with two new productions of beloved works by Mozart: Don Giovanni and Die Zauberflöte. ![]() Maestro Nézet-Séguin will conduct François Girard's new production of Wagner's Lohengrin with Beczała in the title role. Another company premiere is Cherubini's Medea, starring soprano Sondra Radvanovsky in the title role alongside tenor Matthew Polenzani in David McVicar's new staging, conducted by Carlo Rizzi.įour more new productions are Giordano's Fedora, starring soprano Sonya Yoncheva in the title role, with Marco Armiliato conducting. Maestro Nézet-Séguin conducts the opera about the life of boxer Emile Griffith, with choreography by Camille A. The work features music by Yannick Nezet Seguin conducting a trio of star singers: Renée Fleming-who makes her highly anticipated return to the Met-soprano Kelli O'Hara and mezzo-soprano Joyce DiDonato.įollowing the historic Met premiere of Fire Shut Up in my Bones, Terence Blanchard's second Met premiere, Champion, arrives in the spring. Kevin Puts' The Hours, based on the acclaimed novel by Michael Cunningham that was adapted into the 2002 Oscar-winning film, gets its world debut. ![]()
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