Rick Perdian is a critic with New York Classical Review. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.
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"It’s an ending unsurpassed in opera for its brutal honesty and dramatic impact. If this compelling cast isn’t enough to lure you to 'Dialogues des Carmélites,' the final moments of the Met’s timeless production should be." Full Review
"Mozart’s beautiful melodies unfolded seamlessly, creating an almost trancelike effect. None of the drama or intensity of the score was lacking, but it was a performance on a particularly intimate scale." Full Review
"This was a production that people wanted to talk about, even with strangers. At intermission a man asked me what I thought. I said that it worked for me, but that the videos were distracting. He responded that he was a multi-media enthusiastic, so that element fascinated him, quickly adding that the entire concept would resonate with his daughter far more than a traditional staging. Undoubtedly, that’s exactly the response for which the Met was hoping." Full Review
"Minghella’s minimalist concept is not only a crowd pleaser, but a remarkably innovative and effective backdrop for Puccini’s tragic opera...Eleonora Buratto triumphed in her role debut as Butterfly. Her sparkling, light soprano, which dazzled so in bel canto roles such as Adina in Donizetti’s 'L’elisir d’amore,' has grown into a voice that soars above Puccini’s far weightier orchestra with no loss of ease and beauty...Conductor Alexander Soddy has a fine feel for Puccini and the Met Orchestr... Full Review
"Clocking in at over three hours, with one intermission, the opera is as unwieldy as most productions of the play. Opera doesn’t need to be an endurance test. By the end of the first act, which runs for 105 minutes, the audience was getting restive. Standing near an exit at intermission, a small, but steady stream of people left, not to return. Since heeding Polonius’ oft-repeated words regarding brevity wasn’t in the cards, surely another break could have been inserted to lighten the load." Full Review
"Although dissimilar in many ways, Stemme and Davidsen had a natural ease together on stage that made their sisterhood plausible...Patrice Chéreau’s well-traveled 'Elektra,' which was first seen at the Met in 2016 and revived in 2018, is straightforward, but impressive...The Met Orchestra sounded glorious, but it wasn’t all loud and terrifying. Runnicles injected lightness and brilliance into Strauss’s score whenever possible...Runnicles’ sense of pacing and balance were evident at all times.... Full Review