The Met: Live in HD supported financially by the Foundation of the Arts and Music in Asia, a Hong Kong-registered charity.

Claus Guth directs a tormented, harrowing new Salome at the Met
★★★★★

This may be the finest work I’ve heard from conductor Yannick Nézet-Séguin.

Strauss’ 100+ piece orchestra must play with grace and ooze charm in some passages, particularly near the opera’s start. But it is there to shock as well and the grand explosions were remarkable. As the evening went on, Nézet-Séguin emphasized more and more Strauss’ ghastly dissonances, becoming more and more degenerate; the final chords were punishing, signs of both Salome’s orgasm and death. The roar that came from the audience at the finale was almost the same.

- from Bachtrack

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Brenda Scofield
FAMA Vice-Chairman
Joana Mallwitz makes a radiant Met debut leading a vigorous Figaro revival

Rob Howell’s period costumes – graceful gowns and stylishly tailored suits for the upper classes, playful uniforms for the household staff – look as attractive as ever. Paule Constable’s imaginative lighting designs provide stunningly dramatic effects at key moments.

On the opening night of this run the German conductor Joana Mallwitz, making her house debut, drew a radiant, highly transparent reading from the magnificent Met orchestra, with richly textured sounds from the strings, played with graceful portamento, and polished tone from the woodwinds and brass. Together with the splendid soloists and chorus, the ensemble created a lively, totally engaging performance.

- from Bachtrack

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Brenda Scofield
FAMA Vice-Chairman

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