Opera Review: Angels and Insects

The Met attempts to pin down Madama Butterfly.
by Paul J. Pelkonen

The bad lieutenant: Pinkerton (Roberto Aronica) peeps on Butterfly (Hui He) on their wedding night.
Photo by Ken Howard © 2017 The Metropolitan Opera.

There is no argument with the artistic or aesthetic success of the Metropolitan Opera’s current production of Madama Butterfly. It was the first production launched under the aegis of current general manager Peter Gelb and remains the greatest success of his administration. As envisioned by the late director Anthony Minghella, it was a revaluation and revolution for the venerable opera house. The show returned Thursday night, to find a very different state of affairs in the little house in Nagasaki.

Concert Review: An Orchestra of Ten

Marc-André Hamelin returns to Carnegie Hall. 
by Paul J. Pelkonen

Marc-André Hamelin and his orchestra.
Photo by Canetty Clarke © 2017 Hyperion Records.

The Canadian-born Boston-based pianist Marc-André Hamelin is not the biggest star to play his instrument. He doesn’t gyrate on his bench, flail his arms or wear short skirts that scandalize traditionalists. No. On Wednesday night, he came to Carnegie Hall, programmed unbelievably difficult stuff, and then blew the audience through the back wall of Stern Auditorium.

The sad part is, this hallowed venue was only half full to hear a musician of this caliber.

Metropolitan Opera Preview: Thaïs

The most famous French opera with an umlaut in the title.
by Paul J. Pelkonen

You're nobody in Alexandria unless you live in a house with a really big door.
Photo from the Met's last production of Thats by Ken Howard, courtesy the Metropolitan Opera.

The Met revives Massenet's most sensuous opera as a vehicle for soprano Ailyn Pérez and stud baritone Gerald Finley. Thaïs is a lush example of Massenet using an exotic setting to tell a fairly prosaic story of love and obsession. The twist is that the "bad girl" courtesan finds true redemption while the religious, sex-obsessed monk goes down in flames.

Concert Review: An Apocalyptic Kind of Party

The mighty King Crimson thraks NJPAC.
by Paul J. Pelkonen

A slightly different version of King Crimson takes Radical Action.
 Photo by Sid Smith © 2017 DGM.

From their foundation in 1968, King Crimson  have never been a typical rock band. They have eschewed a linear existence for formation and reformation over the course of half a century, with the sole constant being guitarist, electronic music warrior and philosopher Robert Fripp. On Halloween night, Mr. Fripp brought the eighth and latest edition of Crimson to the New Jersey Performing Arts Center, unleashing the band's peculiar brand of cheerful insanity upon an adoring, middle-aged crowd in Prudential Hall.