Radvanovsky will be joined by tenor Matthew Polenzani as the faithless Giasone, Janai Brugger as Glauce, Ekaterina Gubanova as Neris, and Michele Pertusi as Creonte. A soprano known for her passionate work with bel canto roles (including Donizetti’s Three Queens – Maria Stuarda, Anna Bolena, and Elizabeth in Roberto Devereux), Medea offers a very different set of shoes indeed, vocally and musically, though it may well be somewhat familiar territory for the level of dramatic intensity it demands. The Met may well be hoping to make its own kind of history with the new production, directed by David McVicar and featuring Sondra Radvanovsky in the lead. It has never been presented in The Met’s history – not for lack of trying in an essay at The Met’s website, Associate Editor Jonathan Minnick details former General Manager Rudolf Bing’s efforts to bring the opera, and Callas, to New York in the 1960s. The 1797 opera is most famous, or at least has a fair measure of fame among opera aficionados, for its live recording featuring conductor Tullio Serafin and soprano Maria Callas from 1957. Case in point: Medea, by Luigi Cherubini (1760-1842), opens The Metropolitan Opera’s 2022-2023 season on September 27th. Some works, especially those with less of a direct reference to mainstream popular culture, may not be as much in the public consciousness (yet), but do have existing audiences, and do possess the kind of appeal which expands a work’s fanbase, especially to literature and theatre lovers. The Royal Opera is presenting a new opera by Oliver Leith about rock singer Kurt Cobain next month, and its entire run is already sold out. Just how the element of risk manifests now is worth considering, especially given the bundles of new works being presented as part of the 2022-2023 season across various houses in North America and Europe. This positive outcome of risk calculation is one some houses are willing to dare, especially as a long, challenging winter draws closer. Literal risk may well scare some off (or simultaneously attract others), but figurative risk – creative risk – has the power to tempt long-time audiences back in the house, and bring a much-coveted demographic: newcomers.
#Torrent jonathan and charlotte perhaps love placido full#
It’s on it’s off it’s on people are sick, the show must go on it’s half-on, it’s half-off it’s reduced, it’s streamed it’s full capacity but “gosh, where is the audience?” is combined with “why aren’t we moving tickets when we made such cool instagram videos?” and “let’s invite some influencers because they’ll bring the sexy young audience we really want!” Questions, queries, and marketing tactics aside, it is risk which is arguably foremost in audience minds: the risk of attending, but also the risk of experiencing something new, or something familiar, but in new ways.
It is an observation perhaps most applicable to the world of opera, an industry which continues to endure its fair share of slow-downs, speed-ups, and stand-stills since the start of the coronavirus pandemic in early 2020. Time, as Hugo von Hofmannsthal wrote in the libretto of Die Rosenkavalier, is a strange thing.
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