Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good.
Tan Dun portrays the Venetian explorer's travels to the Far East as a journey of both inner and physical discovery, a voyage depicting spiritual experiences as well as a geographical expedition.
Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory.
Wolfgang Amadeus Mozart's Magic Flute is undoubtedly one of the most multi-layered, profound, complicated, and therefore also most difficult to stage works in the entire opera repertoire.
Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko as Tatiana and Mariusz Kwiecien and Peter Mattei sharing the title role.
Non-musical account of Puccini's opera: Tosca and Cavaradossi are in love, but the tyrant Scarpia desires Tosca and oppresses Cavaradossi who is fighting for freedom.
In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscorik
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