Metropolitan Opera Review 2015-16

22 Sep 2015 | Author: | No comments yet »

Dame Helen Mirren ditches glamorous gowns for hand drawn frock on date night with hubby.

On Saturday night she and her husband joined guests at an exclusive screening of Rolling Stones rocker Keith Richards’s bio-documentary at New York’s Museum of Modern Art in New York. The Metropolitan Opera opens its season with Verdi’s take on Shakespeare’s taut tragedy in a production staged by Bartlett Sher and led by the charismatic conductor Yannick Nézet-Séguin. And on Monday Helen Mirren and Taylor Hackford went for a very different type of musical experience at the Metropolitan Opera’s season opening night of Verdi’s Otello at the city’s Lincoln Center. The 70-year-old, looking much younger than her age as always, slipped into a colourful ankle-length frock decorated with a print of children’s drawings of red flowers, white houses, rainbows and blue skies. Corinna da Fonseca-Wollheim The scary, spellbinding performance of Lou De Laâge in the French movie about of a high school friendship that goes bad is so gripping that her dangerous mixture of sensuality and bravado brings to mind Angelina Jolie in “Girl, Interrupted” and Jeanne Moreau’s Catherine in “Jules and Jim.” She is the kind of seductive daredevil who challenges admirers to follow her into the fire, no matter what the consequences.

She finished off the slightly different Dolce and Gabbana look with a metallic rectangular bag, a pair of pointed white heels and lashings of bright pink lipstick. It’s the first time since the opera was first staged at the Met in 1891 that a white singer performing the title role was not wearing makeup to darken his complexion to play the Moor, according to NPR. Stephen Holden Before joining the cast of “Saturday Night Live” in 2014, the 21-year-old Staten Island native distinguished himself as a stand-up with brutally honest personal material. The couple’s latest outing comes after controversial columnist Katie Hopkins took a swipe at Dame Helen for always flashing her chest and saying that men shouldn’t pose with their arms around a girls’ shoulders. “Helen Mirren says boys should not put their arms around girls’ shoulders as it is a sign of ownership,” Katie recently wrote in her column for The Sun. “She says women are still finding their way in the modern world and need to use the words ‘f**k off’ more frequently.

All you need to be is someone who keeps an eye on the news; who pays attention to loss through violence; and feels a personal stake in that loss, as if it were happening to people you know and care about, to people who live in your home. On Sat. evening, the twosome have been much more casually dressed for the invitation-only screening of Keith’s Under The Influence.Helen paired a putting pair of hot pink trousers with a blue cardigan & spiced up the look with leopard print heels & an identical purse. … For some 30 years, she has made such memories the essence of a witnessing art which includes the dozens of austere but viscerally animated sculptures and installations that fill all four floors of the Solomon R. Sher, whose triumphant production of “The King and I” continues its run at Lincoln Center, with daring directorial concepts and abstract scenic designs.

Holland Cotter In a new season laden with superhumans, sorority girls and Muppets, two ABC sitcoms still offer some of television’s most piquant viewing. In “Fresh Off the Boat,” inspired by the life of the celebrity chef Eddie Huang, an Asian-American family jockeys for position among the lily-white country club set in Orlando, Fla.

Otello (the virile-voiced tenor Aleksandrs Antonenko) is an outsider, a Moorish general appointed by the powerful Venetian republic to be governor of Cyprus. In “black-ish,” spun from the experiences of its creator, Kenya Barris, a well-off African-American father refuses to let his kids become homogenized into the bland affluence of Los Angeles. When his ensign Iago (the luxurious baritone Zeljko Lucic), a man warped by hatred and envy, impugns the innocence of Desdemona (the luminous soprano Sonya Yoncheva), Otello’s new wife, Otello becomes trapped in the quagmire of his own perceptions, as Mr.

And in “black-ish,” on Wednesday, Dre (Anthony Anderson) and Bow (Tracee Ellis Ross) debate the history of a racial slur after their son Jack (Miles Brown) performs “Gold Digger” at school. Sher, the British set designer Es Devlin, in an auspicious Met debut, has created a series of sliding, translucent walls that intersect to suggest vast outdoor spaces one moment, an intimate bedroom the next. A terrible storm threatens to sink Otello’s ship before it can dock; the people of Cyprus, singing Verdi’s raging choral music, look to the sea with terror. The Cyprians — the members of the great Met chorus costumed in curiously wintry garb (designed by Catherine Zuber) — sing this frenzied music vehemently as the orchestra under Mr.

After Otello’s ship landed safely and the relieved Cyprians sang “È salvo!” (“She is saved”), the choristers relaxed, moving about and exuding more confidence. The relationship took on greater focus later, when, in an inventive touch, the two men find themselves sitting in Otello’s bedroom, on the edge of the bed. Confining these two singers to that bed ratcheted up the tension by introducing unlikely intimacy, even a hint of homoerotic manipulation on Iago’s part, into the encounter.

This production had already made news when the Met announced this month that, breaking with past practice, it would cease to apply any kind of blackface to Otello. Sher argues that, whereas Shakespeare’s Othello encounters overt racism, the opera, with a libretto by Arrigo Boito, softens these attitudes and emphasizes the issue of his otherness. A true test of an Otello comes in Act III, during the despairing soliloquy when Otello asks God why, of all human trials, it is an unfaithful wife, the only humiliation Otello cannot endure, that has been visited upon him. Among the rest of the cast, the tenor Dimitri Pittas was an ardent, vulnerable Cassio, and Jennifer Johnson Cano a rich-voiced, sympathetic Emilia, Desdemona’s maidservant.

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