Opera Review: The Queen of Stage

With this superb new Adriana Lecouvereur, the Met finally gets it right.
by Paul J. Pelkonen

Anna Netrebko (top) lashes out at her rival in Act III of Adriana Lecouvereur.
Photo by Ken Howard © 2019 The Metropolitan Opera.

Francesco Cilea is remembered for one opera: Adriana Lecouvereur. A frothy combination of backstage infighting and murderous romantic triangle, Adriana is only revived when a star diva decides to take on the steep challenges of the title role. On New Year's Eve 2018, the Metropolitan Opera and Anna Netrebko unveiled their new Adriana in a handsome, traditional production by Sir David McVicar that surrounded the Russian soprano with an all-star cast. Set entirely on a unit stage with a rotating theater-within-a-theater, Sir David solved some of the scenic challenges of this work and did it in a coherent and well-managed manner, just as he has done with so many operas at the Met in this decade.

Follies on the Roof

Tosca star, conductor take the act to Tanglewood.
by Paul J. Pelkonen

Jump they say: Karita Mattila in a promotional shot for the Met's old production of Tosca.
Image © 2009 The Metropolitan Opera

Those wanting to see the original conductor and soprano scheduled for the Metropolitan Opera's new production of Tosca should head to Tanglewood in Lenox, MA. on August 26. Conductor Andris Nelsons and his wife Kristine Opolais will perform Act II of the opera in a special opera gala at the Boston Symphony Orchestra's annual summer festival.

Metropolitan Opera Preview: Die Fledermaus

The Met revives the one about the guy in the bat costume. (Not Bruce Wayne.)
by Paul J. Pelkonen

Clock's already ticking: the dancers of Die Fledermaus.
Photo by Ken Howard © 2015 The Metropolitan Opera.

The Metropolitan Opera resuscitates its 2013 production of Johann Strauss Jr.'s most popular operetta Die Fledermaus. This is the frothy Viennese comedy: the story of a guy determined to cheat on his wife, a saucy maid out to have a good time, and the Italian tenor who winds up getting (accidentally) thrown in jail. The only hitch: a lurching, unfunny English libretto, which is a step down from the German original.

Opera Review: Bat-man Returns

The Met waltzes in 2014 with its new Fledermaus.
by Paul J. Pelkonen

Watch this: Eisenstein (Christopher Maltman) woos Rosalinde (Susanna Philips) in Act II of Die Fledermaus.)
Photo by Ken Howard © 2013 The Metropolitan Opera.

The art of operetta came back to life last night at the Metropolitan Opera. On New Year's Eve, the company unveiled its eagerly anticipated new production of Johann Strauss' Die Fledermaus. The premiere, a glitzy gala occasion with many of the opera house's public areas roped off to accommodate A-list partygoers, proved to be an ebullient occasion, marking the return of this beloved work to the grand stage. This was a new production by Jeremy Sams, with glittering sets by Robert Jones.

Dropping the Ball for 2012

Happy New Year from Superconductor.

The Times Square ball, with unidentified man in fedora.
Photo from the New York Public Library.

By Paul Pelkonen.

Yes, here it is, the annual Superconductor New Year's post, written in my Brooklyn sidewalk window-seat at 8am as the sun comes up over the east side of Sunset Park and the annual Honeymooners marathon plays in the background.

2011 was a banner year for Superconductor. Almost 500 posts--150 of them live reviews of performances. Our news coverage and news gathering expanded. Relations improved with arts organizations, record labels, and opera companies, both in and outside of New York. That's all well and good.

But the biggest improvement was from you, the reader--who discovered a high-speed version of classical music coverage, decided you liked my writing, and stayed.

Thanks!

For 2012, I resolve to keep bringing you the same, or better level of music coverage, from the concerts of the New York Philharmonic, Boston Symphony Orchestra and Philadelphia Orchestra to operas viewed from a high perch in the Family Circle of the Metropolitan Opera. (Look for me on Monday nights--that's when I have my subscription.)

There are more Recordings Reviews and DVD Reviews planned, along with features that you all seem to like: the Short List, the Metropolitan Opera Preview, the Gift Guide, and (provided we don't get hit by an asteroid on December 21) the Year in Reviews. (For the record, I think the Mayan prophecy stuff is a bunch of humbug.)

Humbug, I tell you. Humbug!

This year, I'd like to start doing more interviews and features on the blog page. There is also the possibility of multi-media expansion if I ever figure out the technology. An online radio station? A podcast? The presidency of EMI Classics? (That last one looks doubtful.)

Finally, I also resolve (as I have done each year for the last three years: 

• to make every effort to continue running a daily publication.
• to be visible on Twitter, Facebook, Google+ and elsewhere.
• to keep the coverage real, honest, and objective, with the exception of the occasional excursions into comedy writing.
• to continue to make those excursions. Readers seem to like them. 
• to hear, see, and write about as much music as possible.
• to make this the best classical music blog that I can create with two hands.

See you out there.

Paul Pelkonen.

Editor, Superconductor.