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Met opera 2016 20179/7/2023 ![]() The opera has been set on the eve of World War I, male domination the seeming cause. But right away, we are greeted by two large paintings of men in military get-up. When the red curtain rises, we see the hallway of the Marschallin’s palace, a central door leading us into her room. It justifies the fears that modern opera is more about effect than consistent character and story development.Īcts 1 and 2 are clearly established as the domains of men. The final scene’s setting is a huge problem in that it justifies people’s fear that directors put their visions above the composer’s and librettist’s own. Let’s get the one negative out of the way first so we can explore what makes this arguably the best new production of the 2016-17 season. In my view, the reaction, while a bit hostile, is not completely unwarranted. ![]() It’s early reception at the start of the run, boos throughout the auditorium hurled at Carsen and his production team, does not bode well. In the larger view, general manager Peter Gelb has to deliver a solid production that will likely carry Strauss’ most popular opera (it has been performed over 400 times at the Met) for years to come to be a worthy investment. It will also be the final HD performance of the season, and more importantly, it has become a major event largely because it signals the swansong for Renée Fleming’s CURRENT opera career (to clarify one last time – she is not retiring from opera). In the short-term view, this production is the punctuation on the current season, its final new staging. ![]() The Metropolitan Opera’s new production of “Der Rosenkavalier” by Robert Carsen is as high stakes as it gets these days for the company in both the short and long-term view. ![]()
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