![]() ![]() Though purists prefer the original, both Gelb and Radvanovsky said they felt the Italian version would work better at the Met, where the vast reaches of the auditorium can make spoken dialogue difficult for performers and audience. Download the new iPad app to watch on your TV with Apple TV via AirPlay. ![]() That’s the version used when Maria Callas rescued the opera from semi-obscurity in 1953. Opening Night Gala Met Opera on Demand delivers instant access to more than 500 Met performances, including Live in HD videos, classic telecasts and radio broadcasts. ![]() The Met is doing it in Italian and replacing the dialogue with sung recitative. Originally it was “Médée,” a French “opera-comique,” which didn’t mean it was a comedy but rather part of a tradition in which musical numbers were interspersed with spoken dialogue. The “Medea” being performed at the Met isn’t quite as Cherubini wrote it. “Īt present, she has no contracts for future appearances at the Met, but Gelb said he would be meeting with her after opening night to discuss possibilities. I’d love to keep singing for another 10 or 20 years. Now, at 53, Radvanovsky feels she’s in her vocal prime and is taking on even more dramatic challenges, like Puccini’s “Turandot” and “La Fanciulla del West” and Verdi’s “La Forza del Destino.” As for Wagner, with its punishing demands on the voice, “I’m not saying no … I’m just saying not yet. Medea, abandoned by her lover Jason (Giasone in the opera), takes revenge by killing his new bride, the bride’s father and - after considerable hesitation - her own children, punishing Jason by leaving him without an heir. The composer and his librettist, François-Benoît Hoffman, based their story of the legendary sorceress on the play by Euripides (and an adaptation by Pierre Corneille). Such moments of levity are in short supply in Luigi Cherubini’s “Medea,” a work of almost unrelenting intensity that premiered in Paris in 1797 and is having its first-ever Met production to inaugurate the new season on Sept. “You know, the last opening night I didn’t quite get to killing the kids, but this time I succeeded,” Radvanovsky said, indulging in a bit of gallows humor. ![]() NEW YORK (AP) - The first time Sondra Radvanovsky opened the Metropolitan Opera season, she played a mother who contemplates murdering her two young sons as revenge against her faithless lover.įive year later she’s back in a role that’s strikingly similar - with one crucial difference. ![]()
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