![]() It takes a long time for Medea to show up to her own opera, and in the meantime, the work chugs along in a protracted bout of exposition, propelled by a score of dark dramatic charms. But even these high beams go wan in Radvanovsky’s sunlight. Matthew Polenzani supplies splendid indignation as Medea’s disenchanted ex, Giasone (he of the Golden Fleece), Ekaterina Gubanova does fine work as Neris, and Michele Pertusi thunders admirably as the king, Creonte. But if the company finally got around to mounting a 1797 opera for the first time, it’s as a showcase for the soprano, who sells it virtually singlehandedly with tempered voice and controlled ferocity. Technically, that’s not an accurate description, since Luigi Cherubini composed the score, David McVicar directed, and the performance, conducted by Carlo Rizzi, took place at the Met. Sondra Radvanovsky opened the season by singing the title role in Sondra Radvanovsky’s production of Sondra Radvanovsky’s Medea in the Sondra Radvanovsky Opera House. ![]()
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