To me that Billy is something of a Savior figure here for the deeply Christianīritten, his goodness and beauty calling immediately to the goodness in every Unjustly accused of crime, what he has not done. Know where Billy is and what he is doing-and, importantly for a hero No matter what else is going on, we always White, highlights him against the dirtier or grayer costumes of the other I had not noticed before that Dudley’s costume for Billy, a gleaming Pask’s sets for John Doyle’s production of Peter Grimes so Multi-leveled ship rises and descends noiselessly, highlighting theĬonfrontations and interactions necessary to the plot-as Scott No problem staying out of each other’s way and William Dudley’s Masterpiece of the 1950s, Poulenc’s Les Dialogues desĬarmelites, which will return next season. Production in his far simpler (and cheaper to mount) version of another Dexter also achieved this sublime match of score and This is one of the rare occasions a producer has made proper use of the sizeĪnd proportions of the Met stage, its stage machinery and its lighting effects,įilling it without crushing the life out of the human beings singing the drama,Įverything in proportion, with an excitement that suits the composer’s John Dexter’s production of Billy Budd is always welcome. ![]() Thrilling occasion, and the Met surrounded her with a fine supporting cast ledīy JiřÌ Bělohl Longer sounds like the young, idealistic Jenufa or Katya Kabanova, well,Įlina/Emilia is 337 and should give some evidence of wear and tear. naček and Mattila is very near ideal, and if she no.(neither of them seems especially Greek, the nationality of Elina Makropoulos),īut the mating of J Not quite suit Mattila’s more athletic performing style and Nordic looks The Met’s production,ĭesigned to showcase Jessye Norman’s majestic figure and presence, may ![]() The case of Karita Mattila’s Emilia Marty, a role she undertook for theįirst time only last autumn in San Francisco. New Yorkers have been preparing for this all season-longer in
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