THE HANGOVER REPORT – The Met revives its raw production of Richard Strauss’s ELEKTRA, ecstatically led by Christine Goerke and Yannick Nézet-Séguin

Tonight, I revisited the Metropolitan Opera’s raw production of Richard Strauss’s still-shocking, laser-focused one-act operatic adaptation of the Greek tragedy Elektra. Even if the staging from the late, great Patrice Chéreau this time around … Continue Reading →

THE HANGOVER REPORT – Stellar vocals save the Met’s clunky production of Rossini’s rarely-performed SEMIRAMIDE

I recently had a chance to catch the Metropolitan Opera’s production of Rossini’s Semiramide. The bel canto opera, one of Rossini’s final operas and one that’s rarely in the repertoire these … Continue Reading →

THE HANGOVER REPORT – Anthony Minghella’s production of Puccini’s MADAMA BUTTERFLY at the Met remains as striking as ever

There are a handful of productions at the Met that never fail to leave a deep impression on me, regardless of the quality of the cast. One of those is … Continue Reading →

THE HANGOVER REPORT – It was worth the wait: The New Group’s sensational chamber-sized JERRY SPRINGER: THE OPERA (finally) opens in New York

The New Group’s sensational chamber-sized version of Jerry Springer: The Opera (HIGHLY RECOMMENDED) marks the anticipated New York premiere of Richard Thomas and Stewart Lee’s musical-cum-opera adaptation of the notorious talk show of the same … Continue Reading →

THE HANGOVER REPORT – Donizetti’s L’ELISIR D’AMORE receives an appealing revival, courtesy of Bartlett Sher, from a solid cast

Tonight, I caught a performance of Donizetti’s L’Elisir d’Amore at the Metropolitan Opera, in a refreshingly traditional, intimate staging by go-to Tony-winning director Bartlett Sher (he’ll be represented back at Lincoln Center … Continue Reading →

THE HANGOVER REPORT – Yannick Nézet-Séguin triumphantly steers Wagner’s singular PARSIFAL at the Met

Last night, the Metropolitan Opera opened this season’s run of Richard Wagner’s singular Parsifal, led by the company’s incoming music director Yannick Nézet-Séguin. By all accounts, it was a triumph. There really … Continue Reading →

THE HANGOVER REPORT – Pepe Martinez’s CRUZAR LA CARA DE LA LUNA makes a case for mariachi in music theater

Last night, José “Pepe” Martinez’s self-professed mariachi opera Cruzar la Cara de la Luna opened under the auspices of New York City Opera at Jazz at Lincoln Center’s Rose Theater, in a co-production … Continue Reading →

VIEWPOINTS – PROTOTYPE 2018, one of the festival’s finest outings, was an eclectic exploration of the possibilities of opera

This past weekend marked the closing of this year’s PROTOTYPE, an annual two-week festival curated to celebrate and showcase the cutting edge in opera and music theater. In just its … Continue Reading →

THE HANGOVER REPORT – The Met’s revival of David McVicar’s Goya-inspired IL TROVATORE is fiercely sung and acted

When performed by the right cast with sufficient theatrical intensity, Sir David McVicar’s 2009 production of Verdi’s Il Trovatore has the potential to be one of the more compelling of the Metropolitan Opera’s … Continue Reading →

THE HANGOVER REPORT – The Met’s run of LE NOZZE DI FIGARO closes with an ideal cast

Last night, I caught this season’s closing performance of the Metropolitan Opera’s production of Le Nozze di Figaro. When done right, Mozart’s deservedly much-loved opera can be a transcendent experience, both musically and dramatically. … Continue Reading →