Metropolitan Opera Preview: Madama Butterfly

A revival of Anthony Minghella's evocative staging.
by Paul J. Pelkonen.

My son, the puppet. Kristine Opolais in Act III of Madama Butterfly.
Photo by Marty Sohl © 2015 The Metropolitan Opera.

Anthony Minghella's spare production of Madama Butterfly reduced the opera to a bright wash of colors and fabrics against a spare black acting surface. Two casts appear this season. Aña Maria Martinez has stepped in to replace Hei-Kyung Hong opposite Massimo Giordano in the first run of performances and Kristine Opolais with Roberto Alagna in the second.

Opera Review: March to the Scaffold

Poulenc's Dialogues of the Carmelites at Caramoor. 
by Paul J. Pelkonen

Sisters: the cast of Dialogues of the Carmelites with Hei-Kyung Hong at the right.
Photo by Gabe Palacio © 2015 Caramoor Festival.

The Bel Canto at Caramoor series specializes in the opera of the early 19th century. But this Saturday, music director Will Crutchfield thrust this annual summer opera festival squarely into the 20th century with the first Caramoor performance of François Poulenc's powerful 1957 opera Dialogues of the Carmelites. This semi-staged performance, directed by Victoria Crutchfield featured a strong cast of veteran singers mixed with raw but very promising talent.

Festival Preview: Get Thee to a Nunnery (or Monastery)

Caramoor unveils its summer opera lineup. 
by Paul J. Pelkonen

Opera in concert at Caramoor's Venetian Theater.
Image © 2015 Caramoor Performing Arts Festival.

Located off a quiet suburban lane in Katonah, NY, the Rosen Estate is a gorgeous folly, an exercise in Renaissance Italian architecture slapped square in a corner of Westchester, NY. Happily, it is also home to Caramoor, a performing arts center whose annual festival features the best of opera, orchestral and chamber music.

Natalie Dessay Out of Traviata Premiere

Hei-Kyung Hong gets the nod as Violetta.
by Paul Pelkonen

A trip to IKEA, on gossamer wings: Act I of La Traviata at the Met.
Photo by Marty Sohl © 2012 The Metropolitan Opera.

The saga of the Little Red Dress continues. 

Last night the Metropolitan Opera press office quietly announced that tonight's performance of La Traviata will be sung by soprano Hei-Kyung Hong. Ms. Hong will replace Natalie Dessay, who is ill.

It is not known at press time whether Ms. Dessay will be available to sing the remaining seven performances in the run, starting with next Tuesday night and leading up to the Met Live in HD broadcast on April 14. 

Willy Decker's production of La Traviata, which bowed at the Met on December 31, 2010, is more physical than most productions of this Verdi opera. Violetta is required to careen across a slanted, curved acting surface, to be hoisted on a red couch by the choristers, and to meet the physical challenges of the characters medical condition (she is dying of tubeculosis) head-on. 

The production, which was originally mounted at Salzburg with Anna Netrebko (currently singing Manon at the Met) premiered with Marina Poplavskaya making a splash in the title role. Ms. Hong was the "cover" for those performances, and also sang the dress rehearsal earlier this week when Ms. Dessay announced that she was ill.

Regulars at the Metropolitan Opera are familiar with this talented Korean soprano, who has been something of a fixture at the house over a long career. She has sung over 300 performances at the theater, starting in 1984. Her wide repertory includes Butterfly, Gilda, the Countess (in the Marriage of Figaro), Liu, and of course, Violetta.

Last season, Ms. Hong was thrust into the limelight as Juliette in Gounod's Roméo et Juliette  after soprano Angela Gheorghiu abruptly cancelled her entire run, claiming illness. 

This year's cast also features Matthew Polenzani as Alfredo Germont, and baritone Dmitri Hvorostovsky as Giorgio Germont.

Opera Review: Roméo is Sleeping

Roméo et Juliette at the Met

Piotr Beczala and Hei-Kyung Hong
at the rehearsal of Roméo et Juliette.
Photo by Marty Sohl © 2011 The Metropolitan Opera

Monday night's performance of Gounod's Roméo et Juliette at the Metropolitan Opera featured strong performances from tenor Piotr Beczala and soprano Hei-Kyung Hong in an otherwise unexciting revival of the Shakespearean opera.

This revival has already made headlines for the 11th-hour withdrawal of soprano Angela Gheorghiu. Her replacement was Hei-Kyung Hong. The 51-year old Korean soprano may be a little older than Shakespeare's 14-year old Juliette, but she sang boldly, going up for the high notes in Juliette's Waltz even though her voice thinned noticeably at the top.


As the performance continued (and her voice warmed up) Ms. Hong displayed the soprano warmth and bloom that has made her a longtime fixture at the Met. She was strong in the difficult fourth act, with the long "floating bed" duet with Piotr Beczala, followed by the difficult Potion Scene. Her onstage collapse the dramatic climax of the evening.

Tenor Piotr Beczala was a bluff, enthusiastic Roméo, singing with ardor in the balcony scene and generating real chemistry with his leading lady on the floating bed that is the setting for their Act IV duet. However, he looked lost in the Act III fight scene, standing about without any direction after killing Tybalt, as if the director failed to give him any directions at that point in the opera.

The biggest surprise of the evening was James Morris in the brief, but memorable role of Friar Laurence. The Met's former Wotan sounded ideal in this paternal role, using his woolly, well-oiled bass voice to give gravity to the priest's scenes in Acts III and IV. Mr. Morris has had some rough outings at the Met lately, but this short part was well suited to his fading fach.

Guy Joosten's staging uses the plays Renaissance setting and the idea of star-crossed lovers for a production that combines astrolabes, clocks, trompe l'oeil paintings and the streets of Olde Verona. Occasionally, the back wall cracks open to reveal cosmic landscapes, more suited to the work of Carl Sagan than Shakespeare. These ultimately prove distracting, although the "flying bed" duet remains a theatrical coup.

The performance was undermined by the conducting of tenor-turned-maestro Plàcido Domingo, which lacked that degree of lift that can make Gounod's melodic lines soar. That, combined with the librettists' decision to boil almost all the fight scenes and much of the excitement from Shakespeare's play  made for a long evening. But that's not the Met's fault.