Musical excellence mired by stale production in the Met's Don Carlos

Por Ako Imamura, 01 marzo 2022

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“Matthew Polenzani’s lyrical tenor is perfect for the title role”

Crítica hecha desde Lincoln Center: Metropolitan Opera House, Nueva York el 28 febrero 2022

Verdi, Don Carlo (French version, 5 acts)

Metropolitan Opera

Yannick Nézet-Séguin, Dirección

Sir David McVicar, Dirección de escena

Charles Edwards, Diseño de escena

Brigitte Reiffenstuel, Diseño de vestuario

Adam Silverman, Diseño de iluminación

The Metropolitan Opera Orchestra

The Metropolitan Opera Chorus

Sonya Yoncheva, Elisabeth de Valois

Matthew Polenzani, Don Carlos

Étienne Dupuis, Rodrigo, Marchese di Posa

Eric Owens, Philippe II

John Relyea, Il Grande Inquisitore

Jamie Barton, La Principessa Eboli

Matthew Rose, Un moine

Mei Gui Zhang, Thibault

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The Lithuanian soprano’s riveting performance as the central character in Tchaikovsky’s operatic masterpiece lights up Deborah Warner’s mostly bland production.

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Innocence: Saariaho’s final opera receives New York premiere

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At the Metropolitan Opera, Innocence proves a gripping and perhaps divisive piece which feels real because it is a reflection of our reality, with no realistic hope of finding peace.

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No’a L. bat Miri, 9th March

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Robert Levine, 13th January

Good Butterflys are not that difficult to come by but great ones are very very rare. Ailyn Pérez fits the bill in this revival of Anthony Minghella’s classic staging.

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Ako Imamura

Atsuko (Ako) Imamura is a retired investment banker in New York City. Born in Japan, she trained as cultural anthropologist in the US before turning to ﬁnance. She now spends her time attending opera and classical music concerts in New York and in Europe. Wagner is her favorite opera composer.

Musical excellence mired by stale new McVicar production in the Met's first French Don Carlos