Appearing through Feb. 15, Anita Rachvelishvili turns Azucena, the haunted and haunting Gypsy, into the opera’s riveting, volatile central figure.
A revival of this classic red-sauce double bill, starring Roberto Alagna, is part of a January all too dominated by Italian standards.
The stakes were high and the cancellations many. What the Met delivered was fine singing in a traditional-looking, scrupulously inoffensive production.
A lavish new staging of Puccini’s “Tosca,” envisioned as an act of redemption, loses three singers and two conductors. But the show must go on.
The Metropolitan Opera’s army of artisans has been working for a year to bring 19th-century Rome to life in a new production of Puccini’s “Tosca.”
Performances of “Le Nozze di Figaro” and “Norma” provided a glimpse at the post-Levine company, and offered reflections of social and political upheaval.
The greatness of a Bellini classic shines through a dimly lit new production.
The conductor flip comes after the hotly anticipated new production, set to open on New Year’s Eve, also ended up with a new leading duo of singers.