Traviata:  While the beginning of Traviata truly had me concerned—at one point I thought they might stop and start over, the beginning was so underwhelming (vocally and musically) it truly seemed like a warm up/rehearsal—everyone rose to the occasion for Act 2 when Placido entered.  From there the electric energy and fabulous set (that clock!  Time/life passing by, with the doctor, death himself, always watching) took over and everyone upped their game.  Also, this was the first time I started really falling for Verdi—I love the warm, golden tones in his music—which was a surprise as I always considered myself more of a Wagner gal.

Rigoletto:  I really enjoyed the casino scenery and the buzz that created. I liked the bright flashing neon lights, the full casino, the 1950s car, the elevators.  Friends of mine who aren’t into opera at all heard about and wanted to see this production.  That to me was a victory for the Met and something they need to do more of—get non opera folks talking about and wanting to come to the Met.

Parsifal:  This opera grabbed me the most out of every thing we saw this season.  I had heard Das Rheingold before, but Parsifal’s story, music, moon otherworldly set was truly a transportative experience.  As I said earlier, I always considered myself more of a Wagner gal—the dark, cool, silvery elements to his music grab me—and this opera only confirmed it. 

Of course, being a Wagner person, I loved the first installment of the Ring:

Das Rheingold: The opening set with the machine was absolutely magical—I LOVED the rhinemaidens sitting on the machine, their flippers making bubbles and ripples on the water.  The dramatic power of the leitmotifs added depth to the opera.  I love the concept of the Machine and hope that it will be rehabbed and brought back to the Met soon.

Don Carlo:  I LOVED the set—from the snow coated opening scenery to the giant ornate church, they were fabulous.  I also liked the main red, white and black color schemes echoing the stark thinking of the time.  But Furlanetto’s rich deep voice is what keeps this opera in my memory as a stand out experience.  If only he was singing next season at the Met.

Special mention goes to Le Comte Ory.  The opera was fine, but Pretty Yende was so striking that at the end of the season, even when operas had blended together, along with various singers, she stood out in my memory.  I hope to see more of her next season.

I really wish I could include a NYCO production, but none of them stuck with me the way the above Met productions did.  I loved the music in Turn of the Screw, but that was it.  Hopefully next season brings some great NYCO productions.

La Traviata:  The Decker production distilled the piece down to its core opposing forces which brought new meaning and depth to an opera I have seen and heard many times.  And I loved Domingo.  On the evening we attended the first act was fairly low energy.  Then Domingo walked on stage for act two.  Whether the other singers were saving themselves for him, or the audience’s spiked enthusiasm inspired them or if Domingo has a Michael Jordan like quality of bringing the best out of his peers everything onstage caught fire and became one of the highlights of my season. 

La Perichole:  I don’t think I praised Christopher Alden’s production for NYCO at City Center enough at the time, as it has stuck with me warmly even if it was excessively silly at times. 

All Things Wagner: Many of the images that have haunted me months after have come from Parsifal.  And I loved The Ring.  AND The Machine.  I have written at length about this here,  and am still dismayed that the production has been indefinitely shelved. 

The Tempest: Was visually stunning and epic in many ways even if I was not always able to decipher its musicality.

Powder Her Face:  Trying new things is good in any art form.  And if our site’s google search hits are any indication, there is GREAT interest in Allison Cooke’s onstage fellatio.  

Rigoletto:  I thoroughly enjoyed Michael Mayer’s modernized Vegas set Rigoletto.  As I wrote at the time, it would be a great intro to opera for many of my Martin Scorsese obsessed generation and I look forward to taking some opera newbie friends to it next year. 

Michael Fabiano in I Lombardi at Avery Fisher Hall:  I attended The Opera Orchestra of New York’s concert performance of I Lombardi as the guest of a friend.  I did not expect to be absolutely blown away by Michael Fabiano.  It was one of, if not THE, most vocally thrilling performances of the year for me. 

 

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