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Met opens with retro sets, endless intermissions

We’ve heard little but grouches about opening week at the Metropolitan Opera.

Bloomberg’s Manuela Hoelterhoff tells us that L’Elisir d’Amore may well be her last opening night. The nostalgia of old-fashioned sets has just about lost the last of its charm.

Sharp-eared Elizabeth Frayer, Slipped Disc’s correspondent, caught the opening of Turandot. There were all sorts of mishaps on stage and the intermission lasted 55 minutes, evidently because something had seriously screwed up. Apologies? Forget it. Being the Met means never having to say you’re sorry. Read Elizabeth here.

Still, it was not altogether a waste of an evening. The nice guy who escorted Elizabeth to the opera also asked her to marry him.

Slipped Disc awaits a picture of the happy couple.

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  1. Graf Nugent says:

    Taking my cue from Elizabeth’s blog’s sub-heading, I’d say that was way too much opera and not enough sex. Goodness knows how she assembled that tag list, though…

  2. I rarely agree with Manuela Hoelterhoff, whose reviews are often far too bitter acid for my taste, but I have seen similar comments about the sets elsewhere. I have not seen the production myself and have no interest.

    I believe the even bigger issue regarding opening nights at the Met currently is the stale casting. Exciting, younger singers would at least provide some interest. I myself have no interest in seeing Netrebko on opening night, yet again, and this time, in an opera she obviously has outgrown (despite Hoelterfoff’s diva love).

    At the moment, I and others I know have such Netrebko fatigue that even the promise of a new Onegin next season has only limited appeal, particularly since the previous has been so loved and successful.

    I notice that none of these performances are sold-out and I am not surprised.

  3. I would prefer a more qualified account of the opening of the Met. For me, this one is not on the same level of your or your other colleagues’ reporting. Thanks for the discussions on n/a orchestras and a heads up on Mr. Axelrod’s book. Ann Summers Dossena

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