The Met: Live in HD supported financially by the Foundation of the Arts and Music in Asia, a Hong Kong-registered charity.
Lise Davidsen unleashed rare grandeur of tone throughout her range in the title role of Strauss’s opera.
“Did you see ‘Ariadne’ last night?” a friend wrote to me on Wednesday. “If you were in Brooklyn, you still may have heard it.”
I had seen it, and I knew immediately that by “it” he meant “her”: the soprano Lise Davidsen, who as the title character of Strauss’s “Ariadne auf Naxos” filled the mighty Metropolitan Opera on Tuesday in a way few singers can.
- from New York Times
As always, Franco Zeffirelli’s fantasy setting of a Chinese imperial court, with its gilded terraces, liveried attendants, long-sleeved ladies-in-waiting, dancers, mimes, and acrobats—and the common people slithering around on all fours like lower-level primates—was an eye-popping spectacle.
- from New York Classical Review
Brett Dean and Matthew Jocelyn’s adaptation of the classic play is both traditional and innovative, elegant and passionate.
An opera composer would need the epic gifts and epic gall of a Richard Wagner to consider an adaptation of “Hamlet” and think: “Yup, I’ve got this.”
“My initial response,” Brett Dean has ventured more modestly, “was to say no, that I couldn’t possibly tackle something that big.”
But about 10 years ago, Dean put aside his reservations and began to tackle the play, with Matthew Jocelyn by his side as librettist. And, boldly slashing and reconfiguring Shakespeare’s text while setting it to a score assured in both crashes and whispers, they tackled it to the ground.
- from The New York Times
Simon Stone delivers a visually stunning and conceptually arresting production of Donizetti’s enduring 1835 opera, past interpretations of which haven’t always been warmly received
Lammermoor ain’t what it used to be. Or, at least, it wasn’t Saturday night at the Metropolitan Opera.
In Simon Stone’s visually stunning and conceptually arresting production of Donizetti’s enduring 1835 opera “Lucia di Lammermoor,” the verdant hills and wild landscape of 18th-century Scotland have been paved over and replaced with the living ruins of the American Rust Belt: a pawnshop, a cheap motel, a liquor store, an ATM that charges too much. Its natural glories now artificial and garish; its mysteries now a minimart.
- from The Washington Post
Q : How can I book tickets?
A : You can purchase tickets two ways:
1. Find the 'buy tickets' button next to the opera of your choice. You'll be directed to the cinema webpage to enter details and complete the purchase. Collect your reserved tickets at the Box Office before the performance.
2. Cinema Box Office: You can go to the Box Office of the respective cinemas in person to purchase a ticket.
Q : How long is the intermission?
A : Intermission will be around 10 to 15 minutes long. Some operas have 2 or more intermissions. For screenings at Bethanie Theatre, the first intermission is a 45 minute dinner break. Patrons are welcome to bring their own dinner for their enjoyment.
Q : Is there a dress code?
A : There is no dress code for the Met screenings. We recommend comfortable clothing appropriate for a professional setting.
Q : Is the opera translated?
A : Yes. Most operas are sung in their original language and all are translated with English subtitles. Some operas also provide Chinese subtitles. Backstage interviews will be conducted in English.
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