Tag: review

Image via IDBD

Gloria Estefan was a trailblazer. She was one of the most successful female artists of all time, the most successful Latin-American crossover artist, and her voice is a force to be reckoned with. So when I took my seat at the Marquis Theater to watch her story come to life onstage, I had high expectations. But alas, I was disappointed.

The show On Your Feet: The Story of Emilio and Gloria Estefan has all the promise in the world. With songs like “Congo,” “On Your Feet,” and “The Rhythm is Gonna Get You,” the writers had a lot to work from. I practically congo-ed into the theater, eager to dance and clap along to Gloria’s famous beats and ready for Broadway’s liveliest show yet. But instead, I found myself falling asleep.

Broadway has had a history of success with these kinds of musicals. Jersey Boys, which was based on Franki Valli and the Four Seasons, is a smash hit. Mamma Mia!, written around ABBA’s famous songs, has been solidified as a classic. But for On Your Feet, it felt like Broadway gave up.

The opening number of On Your Feet is slow, boring, and actually quite confusing. For the first ten minutes of the show, scenery and time shifts at a mile a minute, and we are left extremely disoriented. First, a young Gloria awkwardly dances with strangers on the street while her mother jokes about the laundry, then solemnly sings to her father who is serving in the Korean War, and then all of sudden she’s all grown up and taking care of her MS-stricken father. Emilio enters the scene incredibly quickly, and before we know it Gloria is singing with his band and they fall in love without even a hint of a glitch. The entire first act happens quicker than you can imagine (and yet still manages to drag on with only the slowest of Gloria’s songs!) The act’s ending number, “Conga,” Gloria’s biggest hit, gave me hope that the second act would be livelier.

But of course, it wasn’t. The start of Act Two continued on in the same way, skipping so many years and milestones. All of a sudden Gloria is the biggest female artist in America, but we are given no details about how she got there or what her life is like. Only ten minutes into Act Two she is hit by a truck and the remainder of the show follows her road to recovery, once again choosing the slowest songs in her repertoire. In the final number, a coda after the story ends, the cast belts out “On Your Feet” and showcases some epic dance moves, but it was only the second number that had me smiling.

Of course, the show did have its highlights. Ana Villafane, who plays Gloria, is fantastic, and her pipes sound eerily similar to Gloria’s. The dialogue is well-written, well-acted, and actually quite funny. Gloria’s abuela, played by Alma Cuervo, is the show’s most entertaining and sentimental character, and overall the show’s arc is gripping. Where On Your Feet fails, however, is in its music choices and rough transitions. Perhaps if it had followed Jersey Boys’ example and blended much more fun with the serious, it might have been more exciting to watch. My Grade: B-

 

The Must-Watch List: If you are looking for a show to see, I’d definitely recommend getting tickets to Andrew Lloyd Weber’s School of Rock. The show will blow your mind with its insane music and witty dialogue, and you’ll be floored by the completely live musical performance by the show’s star children. If you loved the movie, you’ll love the musical even more. My Grade: A

 

Renée Fleming as the Marschallin in Strauss's Der Rosenkavalier. Photo by Ken Howard/Metropolitan Opera.

Renée Fleming as the Marschallin in Strauss’s Der Rosenkavalier. Photo by Ken Howard/Metropolitan Opera.

“So beautiful,” whispered a captivated concertgoer behind me. Normally, any talking—or sound for that matter—is hurriedly and aggressively shushed by a “serious” audience member at the Met. Renée Fleming, however, seemed to provoke an admissible exception.

Fleming’s whirlwind return to the Met Opera’s season premiere of Der Rosenkavalier (music by Richard Strauss, libretto by Hugo von Hofmannsthal) electrified the opera community. Last week, Fleming scared many by announcing that she would soon be leaving the opera stage. Fleming has since nixed the retirement idea, but the effect of the buzz was obvious: fans came in large numbers just in case this would be the last time that they could do so. In attendance as well were some of Fleming’s collaborators, who have sung with her over the years–coming to support her previously-presumed last run at the Met.

Fleming, for her part, plays the Marschallin: a middle-aged member of the Viennese aristocracy who sighs in anguish over the cruelness of aging. Fleming knows—and loves—the role. In her first solo at the end of Act 1, Fleming smartly addressed the silver rose—a symbol of youth and forthcoming happiness—with an imploring, wistful tone quality. Shortly after, her sweet, yet innerly despairing voice seized the audience’s empathy.

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Renée Fleming as the Marschallin in Strauss’s Der Rosenkavalier. Photo by Ken Howard/Metropolitan Opera.

However, notwithstanding the positive aspects of Fleming’s work tonight, I do prefer her 2010 performance of the same role (Columbia faculty and students can find it through CLIO under the keyword “Met Opera on Demand”). In that performance, she lived the Marschallin: solemn tears slowly streamed down her face at the end of the “Mein schöner Schatz” duet in Act 1. Her phrasing and sepulchral tone made for an unforgettable moment.

Tonight’s conductor, Sebastian Weigle, again chose problematic tempos. The prelude, for example, was much too fast. Here, the music is declarative, demonstrative—overly confident and grandiose. Yet, Weigle seemed incredibly anxious, gesturing with extremely quick circular motions (so fast that his arms were just a blur to my eyes). By taking a quicker tempo, the music sounded too hectic and lost its appropriate gusto.

Weigle made a similarly poor decision in the last minutes of Act 3. Here, silvery chords in the high strings, winds, and percussion flutter downward. The descent should be reflective—it is the end of the opera!—and ethereal. However, it felt tossed-off, illy cared for–herky-jerky and uneven. I recognize that I was critical of Weigle’s lethargic tempo decisions for Fidelio, yet here he seems to have gone in the opposite direction. I do admit however, that future runs of the production might produce better results.

The Met orchestra impressed me —as it routinely does—with its stamina. In the middle of the third act, I heard a clarinetist–presumably either Inn-Hyuck Cho or Anton Rist–flawlessly execute a rapid lick that flickered between the clarion and altissimo registers. The passage was followed by a sustained, pianissimo high note. Both of these sections are incredibly difficult to play when with fresh energy. They’re almost a miracle after two and a half hours of continuous music.

Robert Carsen, the producer of the Met’s new take on Der Rosenkavalier, replaces the dusty, Beauty-and-the-Beast-esque setting with a bawdy production set when the opera was written (1911). Topless prostitutes pursue and are pursued by lustful Viennese men; Octavian, the Marschallin’s young lover, grabs his partner’s behind (what a great way to say, “Welcome back, Renée!”); and Sophie, Octavian’s new love, carelessly dances across one of her father’s howitzer (oddly placed in the living room of their modern palace).

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The playfulness of Octavian–performed by Elīna Garanča–and the Marschallin–sung by Renée Fleming–on display in Act 1. Photo by Ken Howard/Metropolitan Opera.

Admittedly, I was skeptical when I learned about Carsen’s decision to set the third act in a brothel. Typically, it is staged in an inn, a “house of ill repute.” However, the text—the same one used for the inn setting—actually translates well in the new environs: it is believable that Sophie’s dad Faninal calls Octavian, who is disguised as Mariandel, a slut and it makes sense that Octavian assumes a baser dialect as a working-class Viennese woman (some funny lines include “Whad’ya mean?” and “I ain’t gonna drink no wine.”)

The one aspect of the brothel that felt most uncomfortable, however, was the onstage jazz quartet. Prostitutes pantomimed and synchronized fake playing on the clarinet, saxophone, double bass, and accordion. Not only was their supposed music not like the orchestra’s actual performance, but also the quartet implied 1920s Europe more than the 1910s. The production had a 1920s feel to it elsewhere as well, Octavian’s flapper-like costume in Act 1 being another example.  

I found Carsen’s incorporation of the Zeitgeist—especially Freudian ideas—rather compelling. When Sophie sings about her upcoming marriage, dreamlike clones of Sophie and her groom-to-be waltz behind her. Sophie is bathed in a yellow spotlight—the light of the real world—while the dancers behind her are enveloped in purple—a hue of the inner, thought world. Carsen’s decision illustrates how an individual’s inner thoughts and desires are experienced as real, even while awake.

Elīna Garanča as Octavian and Erin Morley as Sophie in Strauss's Der Rosenkavalier swear their love for each other in front of an imposing howitzer. Photo by Ken Howard/Metropolitan Opera.

Elīna Garanča as Octavian and Erin Morley as Sophie in Strauss’s Der Rosenkavalier swear their love for each other in front of an imposing howitzer. Photo by Ken Howard/Metropolitan Opera.

Although this was seemingly The Renée Fleming Show, there are, of course, more singers in Der Rosenkavalier. Elīna Garanča as Octavian embodied the wide range of conflicting emotions of her character. At the end of the last act, Octavian is caught between the Marschallin and Sophie, unsure of who he should turn to. Here, Garanča’s expressions and voice illustrated Octavian’s distress well.

Erin Morley as Sophie sounded quite warm in the upper register, especially when she built up toward it. Unfortunately, she was sometimes overpowered by the orchestra, especially during a fast, staccato passage in Act 2. Overall, I found that her diction was unintelligible at times, but balance could be to blame.

Günther Groissböck–a holdover from Fidelio–swaggered with pride, aggression, and self-absorption as the predatorial Baron Ochs. In Act 2, he engaged with Sophie in a vocal battle of sorts, his crescendoing vocal presence overpowering his soon-to-be wife (who he caustically likened to an “unbroken foal”). The Ochs is easily one of the easiest-to-hate characters in opera.

But the night was Fleming’s. At curtain call, the audience enthusiastically expressed joy for her return and relief for her operatic stay. It was her voice—combined with the prowess of the Met orchestra—that led my fellow concertgoer to exclaim, “So beautiful.” It is for these cherished musical moments that we go to the opera and for which you should let yourself come too.

Strauss’s Der Rosenkavalier runs through May 13, with casting changes. The opera will be broadcast live May 13, at 12:30 PM, on WQXR 105.9 FM. Information and ticket listings (including student and same-day rush tickets) can be found online at metopera.org.

 

 

Hello Columbia! My name is Remi (CC’20), and I’m the Creative Director for the Lion. I turned eighteen a few weeks ago, I have no idea what I want to do with my life, and I really love cats. One week ago today, I got a press pass to Bacchanal, and here is what went down.

No, this is not me pretending to write for Buzzfeed. Okay, maybe it is. Don’t judge. I’m fulfilling a fantasy, okay?

No, this is not me pretending to write for Buzzfeed. Okay, maybe it is. Don’t judge. I’m fulfilling a fantasy, okay?

Wednesday night before the concert the Bacchanal e-Board invited us press pass holders to discuss logistics (at like 11pm – and I had an exam the next morning, whoops). There were four of us: the Lion (me), Bwog, Spec, and something they called the “Bacchanal Press” which I’m pretty sure was them hiring CPS photographers to get their own pics of the event. The press pass gave us access to both the ‘private’ viewing areas directly to the left and right of the stage on Low steps in addition to the regular mosh pits (on map labelled “Front Viewing Areas.” We were also told we’d be given limited access to the middle aisle in front of the stage for a few minutes per act to get some close up shots.

Image courtesy of the Bacchanal e-Board.

Image courtesy of the Bacchanal e-Board.

We were told that last year, the Bacchanal committee only gave out one press pass, which they explained to us was a total disaster in that the individual was backstage very drunk and made the committee look terrible. As a result, Public Safety significantly limited our access to the middle aisle area this year. On that note, only myself and the Bwog rep showed up to that first meeting.

The day of the show, we met at the side entrance to Low at 9:30 am to pick up our wristbands and purple press passes.

They used my I.D. photo. Ew, am I right? Look at that shine.

They used my I.D. photo. Ew, am I right? Look at that shine.

I went up to hang on Low steps at around 12pm, in preparation for the show to start at 12:30pm. The show actually started at 1pm, but they kept telling us to advertise a 12:30pm start to get people to show up.
The first act was a student opener, Battle of the Bands winner THOU SHALT NOT Entertainment (made up of Vanessa Chadehumbe, Tarek Deida, and Jenny Goggin). Before the show started, Vanessa complimented my blue lipstick. I was in a little bit of shock! She’s a pretty rad person and super nice, you guys. When you’re rich and famous, please remember me and hire me to be your photographer! –sobs

These guys know what’s up.

These guys know what’s up.

Let the show commence! THOU SHALT NOT did an amazing job, even if there were only a dozen spectators on either side. There was a student group as backup dancers who were also pretty spectacular. Unless told otherwise, you definitely would’ve thought they were a professional group. Check out their Soundcloud here.

Jenny Goggin of THOU SHALT NOT.

Jenny Goggin of THOU SHALT NOT.

Vanessa Chadehumbe and Tarek Deida of THOU SHALT NOT. So fierce.

Vanessa Chadehumbe and Tarek Deida of THOU SHALT NOT. So fierce.

Next there was about a twenty minute break before the second act: Mykki Blanco. For those who don’t know, she is a poet, rapper, and activist originally from California. During her performance, she got the audience to chant phrases like, “Protect Trans Women,” and “Protect Black Children.” Very Columbia.

Goddamnit, CAVA, messing up my perfect shot. Mykki still slays, though.

Goddamnit, CAVA, messing up my perfect shot. Mykki still slays, though.

It was honestly wild, though. About a minute into her performance, she leapt off the stage, jumped three fences, and took a stroll down College Walk. The other photographers and I were clicking away literally running after her. It was the first time I’ve ever felt very ‘paparazzi-esque,’ but it was fabulous. She then ran across the railings leading towards Low; you could practically feel Public Safety having a panic attack.

Lol wut are you doing?

Lol wut are you doing?

 

You go, Glen Coco. You live your best life.

You go, Glen Coco. You live your best life.

Next came D.R.A.M. (Does Real Ass Music; real name Shelley Marshaun Massenburg-Smith). You may know him for his song Broccoli featuring Lil Yachty, which was nominated for a Grammy Award last year. The crowd was starting to seriously pick up at this point, and the atmosphere reeked of stale alcohol and low expectations. The pens were pretty much filled by this point – there were girls sitting atop shoulders above the crowd; a steady thumping as the audience jumped up and down. The lawns, of course, were packed, their residents either not possessing tickets or unable to be bothered to get swept into the crowd of sweaty, drunk teenagers. Sticky!

Yass.

Yass.

D.R.A.M. got the crowd pumped up!

D.R.A.M. got the crowd pumped up!

Things got a little hazy. The DJ Almand came on and gave a steady performance of his own techno / rap mixes, and kept changing into wacky costumes with each song change.. Despite the stupor, you definitely got the sense that everyone present was having a pretty good time. Lines to get into the pens snaked around the corner while popcorn and Rice Krispie squares were being given out by the handfuls. Unfortunately I wasn’t able to get any clear shots of Almand due to the Bacchanal committee sort of forgetting about us press people? It’s all good; poor guys, they seemed so stressed. Almand’s music was great, though, and he really engaged with the crowd, coming down off the stage and taking selfies with the crowd. At one point he took someone’s phone and took a picture onstage with the crowd!

Aluna Francis of London-based electronic duo AlunaGeorge.

Aluna Francis of London-based electronic duo AlunaGeorge.

I texted them halfway through AlunaGeorge and they were able to let in us. She was so much fun: the perfect concluding act! I don’t feel like that many people were familiar with her songs, but they were catchy, lively, and caught on quickly with the crowd. The viewing areas were super packed, and there was a lot of wild fist pumping going on. I saw a lot of glitter. There was enough glitter for a lifetime…

And the crowd goes… WILD!

And the crowd goes… WILD!

During her last song, she invited a bunch of people from the private, Low steps viewing areas onto the main stage. I, unfortunately, was not among such elite ranks, and had been taking pictures from the crowd. Oh well! It was super cool to see normal people having some fun onstage – and a very nice closing touch. I actually wasn’t there because I lowkey got tired right before the end and went back to my room to destress. I live in John Jay, and have a nice room facing Low – and was able to get this pretty nice shot of the end of Bacchanal!

Yeah, my view’s pretty swanky. I stuck my camera lens out the tiny amount we’re allowed to open our windows.

Yeah, my view’s pretty swanky. I stuck my camera lens out the tiny amount we’re allowed to open our windows.

My thoughts and reflections?

Overall, getting ~backstage access~ and a ~special pass~ was pretty fun. 9/10 dentists would recommend. If you have the opportunity to get special access to Bacchanal another year – whether that might be being apart of the planning committee, or for one of the publications or performance groups, I’d check it out. It let me experience the event in a really special way, and I’d definitely be open to doing it again. It got me out of my comfort zone, which is what college is all about!

Bacchanal itself was pretty cool! It was my first, and a good first, I think! The music was great, I loved the student openers and the craziness of some of the performers. I’ve never been that much of a party/concert person, but I feel more open to them now after forcing myself to go to Bacchanal.

Whether you got to be apart of the crowd, casually observed from the lawns, or flaked altogether, one thing is sure – Mykki Blanco’s green hair slays for centuries.

~
If you liked these photos, click here to see the full album on the Lion’s Facebook page, all personally shot (unedited – I ain’t got time for that!) by yours truly.

                                Image via Yael Turitz

Thanks to my loving professors, I spent almost 90% of my spring break doing homework (not that I’m bitter or anything). I only had one chance to get out to the movie theater, my typical go-to break activity, but I knew exactly what I wanted to see: Bill Condon’s live-action remake of Disney’s Beauty and the Beast.

Growing up, Belle was my favorite princess. An avid reader myself, I thought I was just like her, dreaming to travel and escape my “provincial life” (to be clear, I lived right outside of Washington, D.C. and was not at all stifled, but, hey, the eight-year-old mind sees what it wants). I owned a golden gown Belle costume that I insisted on wearing far too often for my mother’s taste (see above picture for proof, in case you doubt me), and the movie practically lived inside the VCR.

Needless to say, I was pumped to see this movie. And, despite having to sit in the third row because the theater was so crowded (and therefore feeling like I was going to vomit throughout the entire movie because of my ridiculous motion sickness), it did not disappoint.

When I opened the newspapers the next day, however, I was shocked by the reviews. Ty Burr from The Boston Globe called it a ‘strenuous copy cat” of the original, while The Wall Street Journal’s Joe Morgenstern said it was “crazily cluttered, overproduced venture in industrial entertainment.”

WHAT!? Strenuous copy cat? Crazily cluttered? What movie did these people watch!?

Despite my high expectations, I was pleasantly surprised by Condon’s film. Emma Watson proved that not only is she a incredibly talented actor, a natural beauty, and a wonderful female role model, but that she can sing like an angel. She sounded like she could be on Broadway, hitting notes with the same bravado as the original Paige O’Hara, and her pleasant tone felt so natural for a Disney princess. I honestly have no idea what voice Ty Burr was listening to when he said her voice was “never able to break out into the kind of sonic glory an audience might crave.” If anything, he could critique Dan Steven’s or Emma Thompson’s lacking voices, but their voices worked with the beast and teapot they respectively played, so he really shouldn’t do that either.

But what really confused me was that both Burr and Morgenstern seemed completely opposed to the need for a remake at all, yet seemed upset when the film changed or added any aspect to the 1991 classic. But the truth is that Condon’s film stayed extremely close to the original, not changing any plotlines or characters. The few pieces the new movie did add was a (barely) openly gay character, a couple of new songs written by the original composer Alan Menken and famed lyricist Tim Rice, and a scene that tells us how Belle’s mother died from the plague, and her father was forced to leave his wife to save his daughter– all modern additions that make the movie more resonant for modern audiences, and actually much deeper without taking away from the buoyancy and magical aspects of the original fairytale. What more did they want?

I guess you could argue that Disney shouldn’t be making remakes of great films, that they should let the originals stand on their own– a debate that will likely only become more prevalent as Disney continues to make remakes. But as I sat there, marveling at the incredible special effects, the moving additional scenes, Emma Watson’s refusal to wear a corset and perfect portrayal of a strong-willed Belle, I clearly saw the value in this remake. The remake is similar enough to the original that it doesn’t offend, but newly beautiful and relevant– so don’t listen to these people. I dare you to go see Beauty and the Beast in all its special-effects, costume, design, acting, singing glory and tell me it’s not a worthwhile movie.

For me, it was a dream come true.

 

The Must-(Not)Binge List: For the past few weeks, I’ve been painfully watching the CW’s Riverdale, mostly out of a sense of obligation to the Archie Comics that saved me during my lowest sleepaway-camp moments. But enough is enough. The new show, starring AJ Apa, Lili Reinhart, Camila Mendes, and Cole Sprouse is excruciatingly overdramatic. Neither Apa, Mendes, nor Reinhart can act, and the show’s plotline tries and fails to mix the teenage angsty characters of One Tree Hill with the dark plotlines of Black Mirror. Even Cole Sprouse, my favorite of the Suite Life brothers, can’t do anything with his brooding but unnecessary Jughead character. Don’t waste your time, especially if you were an Archie Comics fan. This show is an embarrassment. My grade: D

 

The ending scene in Beethoven’s Fidelio. Photo by Ken Howard/Metropolitan Opera.

 

On Thursday night, the Met opened its season’s production of Beethoven’s Fidelio.

The protagonist, Leonore, is the most positively impactful woman in all of opera. Disguised as a man named Fidelio, she earns the trust of Rocco, the prison warden. He brings her to her husband Florestan, a prisoner locked in a cellar cell. Once there, Leonore defends Florestan from Don Pizarro, the governor of the prison, by threatening him with her gun. Because of her actions, Leonore is hailed as a heroine of “noble courage.” Joy reigns as the couple is safely restored when Don Fernando, the minister, arrives.

Representations of constructively influential women in opera are rare. Most are throwing themselves off of castle parapets (Tosca), displaying a deranged, febrile madness (Lucia di Lammermoor), or even stripping for kings (Salome). The Met picked an important moment to portray an antithetical example. Adrianne Pieczonka, a Canadian soprano playing Leonore, said, “And with what’s going on in the world, I think it’s great to have a strong woman—a brave, courageous woman on a mission.” The only thing missing is a direct reference to Trump.

Given its backdrop, how was this politically charged opera vitalized? Marzelline, Rocco’s daughter—performed by Hanna-Elisabeth Müller in her Met Opera debut—sang wonderfully. Her voice had a sweetness that was maintained throughout her range. Jaquino, Rocco’s helper—played by David Portillo—sang with appropriate anguish over Marzelline’s spurning of his love.

In the subsequent ensemble number, Rocco and Leonore (Fidelio to these folks) joined Marzelline and Jaquino. Rocco—sung by the role-switching Falk Struckmann (formerly Don Pizarro in the Met’s 2000 production)—rang richly in his low register, but thinned out up high. As the night went on, however, his upper tones took on a rounder, fuller shape. Rocco’s employer, Don Pizarro—invigorated by Greer Grimsley—sounded diabolical in his “Ha! Welch’ ein Augenblick!” aria. Grimsley’s repeated “Ha’s!” menaced his adversaries (and the audience!).

After Pizarro’s aria, Pieczonka presented her “Abscheulicher!” solo. Here and elsewhere, I observed her physically reaching upward for climatically high pitches. Her action affected her sound quality: her high register was quavering, forced, and over-vibratoed. In contrast, Müller visibly sunk down into her upper range. As a result, her highs maintained depth and quality. A casting switch between these two sopranos would be beneficial—but admittedly impossible—for this production.

Act 2 starts with a jolt: Florestan calls out “Gott!”, a desperate heavenly plea. Florestan—enlivened by Klaus Florian Vogt—has a many-colored voice: his timbre sounds like the mixing palette of a master painter. His unique hues transmitted the hopeful content of his singing.

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Klaus Florian Vogt as Florestan in Beethoven’s Fidelio. Photo by Ken Howard/Metropolitan Opera.

Some of Sebastian Weigle’s tempo choices detrimentally affected tonight’s performance. In “Gut Söhnchen, gut, hab immer Mut” the tempo was inappropriately slow. I have courage—“Ich habe Mut!”—but apparently not enough to show any vigor. And, in Pieczonka’s “Abscheulicher!” aria, the orchestra sounded safe, even calculated, during accelerandos. The correct energy can be achieved in upcoming performances by a reconsideration of phrasing and articulation.

The horns, however, turned in an excellent performance in the “Abscheulicher!” obbligato. Their tone was pure and their phrasing smooth and effortless.

The singer’s performances were framed by Jürgen Flimm’s production. Flimm’s work, staged for the fourth time at the Met, effectively recontextualizes Fidelio in the mid-20th century. In the first act, the principal themes of hope and freedom are juxtaposed against a starkly bare prison. For the final scene, Robert Israel, the set designer, depicts triumph with a backdrop of wispy clouds strewn across a light blue sky: it is little wonder that the words for heaven and sky are the same in German.

At this euphoric ending, Don Fernando has arrived, ousting Don Pizarro from the stage. The role was performed by Günther Groissböck with an imperial, declarative style, suiting the character well.

After, the chorus, winds, and low strings exclaim joyfully. Freude und Freiheit—Joy and Freedom: Beethoven affirms cherished values with his distinct emotional directness.

During the curtain call, I saw that the bronze heroic figure—which looms in the background of the ultimate scene—was taken off of his horse, placed dejectedly on the ground. To complete the coup, I think, appropriately, Leonore should be put in his former position—a nobly “nasty woman” who deserves her high praise and honors.

 

Beethoven’s Fidelio runs through April 8, with casting changes. The opera will be broadcast live April 1, at 1:00 PM, on WQXR 105.9 FM. Information and ticket listings (including student and same-day rush tickets) can be found online at metopera.org