Marco Armiliato conducts the performances on October 23 and October 31. The number of Sunday afternoon performances will increase in the 2020–21 season. The performance on Sunday, October 6, marks the first of a new series of 16 Sunday matinees throughout the 2019–20 season. The opera is presented in Franco Zeffirelli’s classic 1987 production, one of the most lavish in the Met’s repertory, and will be the first presentation of a staging by the legendary director at the Met since his death earlier this year. Eleonora Buratto returns to the Met for the first time since her acclaimed 2016 debut as Norina in Don Pasquale as the slave girl Liù, while bass-baritone James Morris is Liù’s father, the deposed king Timur. Yusif Eyvazov and Riccardo Massi share the role of Calàf, the princess’s suitor, whose “Nessun dorma” is one of the most famous arias in all of opera. Christine Goerke, fresh from her triumphant run as Brünnhilde in last season’s cycles of Wagner’s Der Ring des Nibelungen, stars as the title princess. New York, NY (September 26, 2019)- Yannick Nézet-Séguin, the Metropolitan Opera’s Jeanette Lerman-Neubauer Music Director, conducts Puccini’s majestic Turandot, the maestro’s first Puccini opera with the company, in performances beginning October 3, 2019.
Turandot will be transmitted live to movie theaters around the world on Saturday, October 12, as part of The Met: Live in HD series.The performance on October 6 inaugurates the Met’s new series of Sunday matinee performances.Franco Zeffirelli’s iconic production also stars Yusif Eyvazov and Riccardo Massi as Calàf, Eleonora Buratto as Liù, and James Morris as Timur.
This soprano held it for six beats even as the harmony under it changed: an astonishing stunt but a stunt nonetheless.Music Director Yannick Nézet-Séguin conducts his first Puccini opera at the Met: Turandot, starring Christine Goerke, which opens October 3 It’s written to be held a bit longer than one beat at a slow largo tempo, though some singers stretch it out for two or even close to three. At the moment Tosca’s lover was dragged off to execution, the soprano hurled out a high C that rattled your ears and churned your gut a bigger high C than Ghena Dimitrova’s or Gwyneth Jones’.īut that C exemplified what was wrong with Radvanovsky’s approach. She can sing literally everything: high, low, fast, slow, fortissimo, pianissimo. Radvanovsky has everything going for her: intelligent musicianship, glamorous stage presence and especially that wonder-of-nature voice. Her showboating performance on October 29, while certainly not lacking in spectacular moments, came as a sad disappointment after her “gripping and insightful” Norma last season. I wish I could say the same about soprano Sondra Radvanovsky, who’s taking on Puccini’s Tosca this fall.
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