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A solid Magic Flute from the performers but marred by the director's foibles. 

Così fan tutte in a 1950s carnival setting. Visually spectacular, and with plenty of laughs. Not everything works, but still worth seeing, especially for Roderick Williams' spivvy Don Alfonso.

In recent seasons, the New York City Opera has largely limited itself to chamber operas. Its newest production marks a renewed ambition: Rossini’s Mosè in Egitto, a proto grand opera that ends with nothing less than the parting of the Red Sea.