The Twelve Best Operas Performances of 2012.
by Paul J. Pelkonen
I saw a total of sixty-five operas in 2012 (sixty-six if I snag a ticket for Maria Stuarda on Monday night.) Here's the twelve best opera performances (overall) for the year that was supposed to end with us being hit by a flaming pyramid two weeks ago.
Anyway here's the best operas I saw this year. Rough chronological order.
Ernani at the Metropolitan Opera.
"Angela Meade brought her admirable instrument to the part, meeting the challenging high-and-low notes of the opening "Ernani, inviolame" and the fiery duets and trios that form the backbone of this score."
The Ghosts of Versailles at Manhattan School of Music
"One of the joys of Mr. Corigliano's opera is seeing Beaumarchais bring his beloved characters back to life for one more romp. Figaro is older in this opera-within-an-opera, played here with energy and a rich low end by American baritone Nickoli Strommer. "
Notre Dame with the American Symphony Orchestra at Carnegie Hall
"Stephen Powell walked a fine line between piety and desparation, using his potent baritone in the prison scene to convincingly portray the deacon's capricious, ambivalent attitude toward Esmerelda."
Salome with the Cleveland Orchestra at Carnegie Hall
"Nina Stemme didn't just sing--she embodied the title role, meeting the opera's exacting requirements with a huge instrument that proved capable of soaring heights and spine-tingling lows. This was the heroic soprano voice that New Yorkers have been starving for: real singing, thrillingly delivered with no compression or spreading above or below the stave."
by Paul J. Pelkonen
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| No this didn't actually happen this year. (The Mayans were wrong!) Framegrab from Armageddon © 1998 The Walt Disney Company/Touchstone Entertainment. |
Anyway here's the best operas I saw this year. Rough chronological order.
Ernani at the Metropolitan Opera.
"Angela Meade brought her admirable instrument to the part, meeting the challenging high-and-low notes of the opening "Ernani, inviolame" and the fiery duets and trios that form the backbone of this score."
The Ghosts of Versailles at Manhattan School of Music
"One of the joys of Mr. Corigliano's opera is seeing Beaumarchais bring his beloved characters back to life for one more romp. Figaro is older in this opera-within-an-opera, played here with energy and a rich low end by American baritone Nickoli Strommer. "
Notre Dame with the American Symphony Orchestra at Carnegie Hall
"Stephen Powell walked a fine line between piety and desparation, using his potent baritone in the prison scene to convincingly portray the deacon's capricious, ambivalent attitude toward Esmerelda."
Salome with the Cleveland Orchestra at Carnegie Hall
"Nina Stemme didn't just sing--she embodied the title role, meeting the opera's exacting requirements with a huge instrument that proved capable of soaring heights and spine-tingling lows. This was the heroic soprano voice that New Yorkers have been starving for: real singing, thrillingly delivered with no compression or spreading above or below the stave."
