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After a Met Opera Milestone, ‘Boris’ Brings Another

You may have heard about the widely publicized landmark with which the Metropolitan Opera opened its season on Monday: Terence Blanchard’s “Fire Shut Up in My Bones,” its first work by a Black composer. Flying under the radar is the less momentous but still significant milestone that followed on Tuesday, when the company finally performed the original 1869 version of Mussorgsky’s “Boris Godunov.”

- from New York Times

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The New York Times
A Historic Night as the Metropolitan Opera Tries to Ensure Its Future

With Terence Blanchard’s “Fire Shut Up in My Bones,” the Met came back from its long pandemic shutdown more determined to draw new and more diverse audiences to opera.

After eight minutes of applause, the curtain had dropped for a final time, and many members of the cast of “Fire Shut Up in My Bones,” the first opera by a Black composer in the 138-history of the Metropolitan Opera, began to cry.

“This is crazy,” said Terence Blanchard, the composer, as he embraced singers, dancers and musicians backstage during opening night on Monday. “This is amazing.”

- from New York Times

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Brenda Scofield
FAMA Vice-Chairman
At Met premiere, ‘Eurydice’ offers a beguiling visit to the underworld

A formidable challenge faced composer Matthew Aucoin and playwright/librettist Sarah Ruhl in adapting “Eurydice,” Ruhl’s retelling of the Orpheus myth, for the opera stage.

How to upgrade Ruhl’s intimate vision of the underworld to the grand scale of opera without sacrificing its delicate structure, its uncanny intimacy or its surreal sense of humor?

If Tuesday night’s premiere at the Metropolitan Opera was any indication, the answer is: effortlessly.

- from The Washington Post

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Brenda Scofield
FAMA Vice-Chairman

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