{"id":13954,"date":"2021-04-26T00:01:00","date_gmt":"2021-04-26T07:01:00","guid":{"rendered":"https:\/\/culturalattache.co\/?p=13954"},"modified":"2021-05-03T08:13:16","modified_gmt":"2021-05-03T15:13:16","slug":"city-of-light-week-59-at-the-met","status":"publish","type":"post","link":"https:\/\/culturalattache.co\/2021\/04\/26\/city-of-light-week-59-at-the-met\/","title":{"rendered":"City of Light: Week 59 at the Met"},"content":{"rendered":"\n<p>It&#8217;s all Paris all the time during Week 59 at the Met where City of Light is the theme.<\/p>\n\n\n\n<p>You know that means two operas by Puccini are certain to be included&#8230;and you probably know what they are. There are also works by Cilea, Giordano, Leh\u00e1r (and you know which one that is, too); Massenet (I&#8217;m guessing you&#8217;ll know which one that is) and Verdi (chances are you can figure this one out.) You&#8217;ll have to keep reading to see how you did.<\/p>\n\n\n\n<p>All productions become available at 7:30 PM EST\/4:30 PM PST and remain available for 23 hours. Schedules and timings may be subject to change.<\/p>\n\n\n\n<p>The Met is heavily promoting their Met Stars Live in Concert series and the planned resumption of performances in the 2021-2022 season, so you\u2019ll have to go past those announcements and promos to find the streaming productions on the&nbsp;<a href=\"http:\/\/metopera.org\/\">Metropolitan Opera website<\/a>.&nbsp;<\/p>\n\n\n\n<p>If you read this early enough on April 26th, you\u2019ll still have time to see the 2018-2019 season production of Poulenc&#8217;s&nbsp;<em>Dialogues des Carm\u00e9lites<\/em>&nbsp;which concludes&nbsp;<em><a href=\"https:\/\/culturalattache.co\/2021\/04\/19\/moral-authority-week-58-at-the-met\/\" target=\"_blank\" rel=\"noreferrer noopener\">Moral Authority<\/a><\/em>&nbsp;week. It&#8217;s not set in Paris, but it does take place in France. <\/p>\n\n\n\n<p>Here is the full line-up for Week 59 at the Met:<\/p>\n\n\n\n<p>Monday, April 26&nbsp;\u2013&nbsp;Puccini\u2019s<strong>&nbsp;<em>La Boh\u00e8me<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by Marco Armiliato; starring <a href=\"https:\/\/culturalattache.co\/2021\/03\/25\/soprano-sonya-yonchevas-10-year-rebirth\/\" target=\"_blank\" rel=\"noreferrer noopener\">Sonya Yoncheva<\/a>, Susanna Phillips, Michael Fabiano, Lucas Meachem, Alexey Lavrov, Matthew Rose and Paul Plishka. This revival of Franco Zefferelli\u2019s 1963 production from the 2017-2018 season. This is an encore presentation of the production made available last year on July 6th.<\/p>\n\n\n\n<p>Easily one of the most popular operas in the world, Giacomo Puccini\u2019s&nbsp;<em>La Boh\u00e8me<\/em>&nbsp;had its world premiere in Turin, Italy in 1896. The libretto is by Luigi Illica&nbsp;and&nbsp;Giuseppe Giacosa. The opera is based on Henri Murger\u2019s 1851 novel,&nbsp;<em>Sc\u00e8nes de la vie de boh\u00e8me<\/em>.<\/p>\n\n\n\n<p>The story centers on four friends who are unable to pay their rent. Successfully getting out of a potentially bad situation with their landlord, all but one go out on the town. Rodolfo stays home and meets a young woman named Mimi. They fall in love, but Mimi\u2019s weakness may be a sign of something far more life-threatening than they know. (If this sounds like the musical&nbsp;<em>Rent<\/em>, it is because&nbsp;<em>La Boh\u00e8me<\/em>&nbsp;served as Jonathan Larson\u2019s inspiration for that musical.)<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The MET: Live in HD 2018 - La Boheme: S\u00ec, mi chiamano Mim\u00ec\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/Xa7jqeV-kv8?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>This production had multiple casts during this season\u2019s performances. Yoncheva was the third person to sing Mimi (following Angel Blue and Anita Hartig). Phillips was the second woman to sing the role of Musetta. Fabiano was the fourth person to sing the role of Rodolfo (following Dmytro Popov, Jean-Francois Borras and Russell Thomas).<\/p>\n\n\n\n<p>Tuesday, April 27&nbsp;\u2013&nbsp;Leh\u00e1r\u2019s&nbsp;<strong><em>The Merry Widow<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by Sir Andrew Davis; starring Ren\u00e9e Fleming, Kelli O\u2019Hara, Nathan Gunn, Alek Shrader and Thomas Allen. This Susan Stroman production is from the 2014-2015 season. This is an encore presentation of the production made available last year on April 23rd, October 20th and December 26th.&nbsp;<\/p>\n\n\n\n<p>Franz Leh\u00e1r\u2019s opera had its world premiere in 1905 in Vienna. The libretto is based on Henri Meilhac\u2019s 1861 comedy,&nbsp;<em>L\u2019attach\u00e9 d\u2019ambassade<\/em>&nbsp;(<em>The Embassy Attach\u00e9<\/em>). Viktor L\u00e9on and Leo Stein wrote the libretto.&nbsp;<\/p>\n\n\n\n<p>When Hanna Glawari, a young woman, becomes a widow, the Ambassador wants her to re-marry someone who lives in their province of Pontevedro so her wealth can remain in the country. The last thing he wants is for her to fall for a Frenchman. Meanwhile his own wife, Valencienne, is having an affair with Camille, Count de Rosillon \u2013 a Frenchman.&nbsp;<\/p>\n\n\n\n<p>Hanna claims to soon be marrying Camille, hoping to preserve Valencienne\u2019s reputation. Circling all of this is Count Danilo, Hanna\u2019s ex who refuses to marry her for her money. When she announces her engagement to Camille, Danilo is forced to reconcile his feelings.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Merry Widow: &quot;If a Girl&#039;s Admiring You&quot; (Fleming, Gunn)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/DfmO5yCaVUg?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>This was the first Metropolitan Opera production directed by a Broadway veteran and wth five-time Tony Award winner <a href=\"https:\/\/culturalattache.co\/2016\/01\/15\/susan-stroman-took-a-few-bullets-for-putting-woody-allen-on-broadway\/\" target=\"_blank\" rel=\"noreferrer noopener\">Susan Stroman<\/a> (<em>The Producers<\/em>). Also appearing at the Met for the first time is Tony Award winner Kelli O\u2019Hara (<em>The King and I<\/em>).&nbsp;<\/p>\n\n\n\n<p>Of O\u2019Hara,&nbsp;<a href=\"https:\/\/www.nytimes.com\/2015\/01\/02\/arts\/music\/susan-stromans-the-merry-widow-at-the-met.html\" target=\"_blank\" rel=\"noreferrer noopener\">Anthony Tommasini&nbsp;<\/a>wrote&nbsp;in his&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>&nbsp;review, \u201cMs. O\u2019Hara\u2019s ardent fans (put me in the front ranks of that group) will be delighted with the chance to hear her sing without the amplification requisite on Broadway. She is a vocalist with operatic training. And her tender voice carries nicely in the house \u2014 certainly as well as that of the gifted young tenor Alek Shrader, who sounded a little pinched as Camille in his scenes with her.\u201d<\/p>\n\n\n\n<p>Wednesday, April 28&nbsp;\u2013&nbsp;Giordano\u2019s<strong>&nbsp;<em>Andrea Ch\u00e9nier<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by James Levine; starring Maria Guleghina, Wendy White, Stephanie Blythe, Luciano Pavarotti and Juan Pons. This Nicholas Jo\u00ebl production is from the 1996-1997 season.&nbsp;This is an encore presentation of the production made available earlier this year on March 13th.<\/p>\n\n\n\n<p>Giordano\u2019s opera had its world premiere in Milan in 1896. It features a libretto by Luigi Illica and is inspired by the life of the poet Andr\u00e9 Ch\u00e9nier who was executed during the French Revolution.<\/p>\n\n\n\n<p>A love triangle is ultimately at the center of this opera. Ch\u00e9nier says one too many things in the presence of Maddalena, Countess di Coigny\u2019s daughter, about the imbalance between the French government and the poverty that has trapped so many of his countrymen. This is just prior to the French Revolution.<\/p>\n\n\n\n<p>Half a decade later, Carlo G\u00e9rard, who was a footman to the now executed King Louis XVI and was influenced by Ch\u00e9nier\u2019s talk, is now a leading political figure. The poet, however, is not in their good graces. This interrupts his plans to meet a young woman with whom he has been corresponding. That turns out to be Maddalena. Though she and Ch\u00e9nier are in love, G\u00e9rard also has his eyes on her. Politics and passion collide leading to the poet\u2019s execution.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Andrea Ch\u00e9nier: \u201cUn di all\u2019azzuro spazio (Improvviso)\u201d -- Luciano Pavarotti (Met Opera 1996)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/tf8dDla8_eg?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.nytimes.com\/1996\/10\/02\/arts\/for-a-first-night-at-the-met-pavarotti-in-andrea-chenier.html\" target=\"_blank\" rel=\"noreferrer noopener\">Bernard Holland<\/a>&nbsp;was not a fan of this production when he reviewed it for the&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>. He did, however, seem to be impressed by how Pavarotti was handling this role so late in his career.<\/p>\n\n\n\n<p>\u201cThis is an opera that can be celebrated more for its parts than its whole. Luciano Pavarotti has the principal one. Six decades have drained a lot of the color from his voice, but in the title role he holds up admirably well. The points of vocal stress are handled gingerly but they are handled. A 61-year-old tenor must by nature be a master of disguise; and so Mr. Pavarotti directs most of our attention to his powers of articulation, almost to the point of excess.\u201d<\/p>\n\n\n\n<p>Thursday, April 29&nbsp;\u2013&nbsp;Massenet\u2019s<strong>&nbsp;<em>Manon<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by Maurizio Benini; starring Lisette Oropesa, Michael Fabiano and Artur Ruci\u0144ski. This is a revival of the 2011-2012 Laurent Pelly production from the 2019-2020 season. This is an encore presentation of the production made available last year on June 25th and earlier this year on January 23rd.<\/p>\n\n\n\n<p>Massenet\u2019s opera was composed in 1883 and had its world premiere in January of 1884 in Paris. The libretto is by &nbsp;Henri Meilhac&nbsp;and&nbsp;Philippe Gille. They based the opera on the 1731 Abb\u00e9 Pr\u00e9vost novel,&nbsp;<em>L\u2019histoire du chevalier des Grieux et de Manon Lescaut<\/em>.<\/p>\n\n\n\n<p>A young woman from a small town has an intense desire to lavish herself with all the riches and pleasures life has to offer her. But life doesn\u2019t always work out the way we want. Sounds like a story that could be written today.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Metropolitan Opera: Manon: Act IV Trio excerpt\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/p2BNEYQhqRU?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>The main attraction of any production of&nbsp;<em>Manon<\/em>&nbsp;is the performance of the soprano singing the title role. Oropesa certainly didn\u2019t disappoint the critics.<\/p>\n\n\n\n<p><a rel=\"noreferrer noopener\" href=\"https:\/\/www.nytimes.com\/2019\/09\/25\/arts\/music\/manon-met-opera-review.html\" target=\"_blank\">Joshua Barone<\/a>, writing for the&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>,&nbsp;said of Oropesa\u2019s performance, \u201cWith a voice by turns brightly crystalline and arrestingly powerful, she persuasively inhabits the role of this chameleon coquette. When she blows a kiss at a crowd of men in Laurent Pelly\u2019s often stylized production, their heads whip backward, as if feeling a sudden gust of wind. The audience can\u2019t avoid catching a bit of the gale, too.<\/p>\n\n\n\n<p>\u201cMs. Oropesa\u2019s performance, her first at the Met since&nbsp;winning its Beverly Sills Artist Award as well as the prestigious Richard Tucker Award&nbsp;this spring, is alone worth the price of admission.\u201d<\/p>\n\n\n\n<p>Friday, April 30&nbsp;\u2013&nbsp;Verdi\u2019s<strong>&nbsp;<em>La Traviata&nbsp;<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by James Levine; starring Ileana Cotrubas, Pl\u00e1cido Domingo and Cornell MacNeil. This Colin Graham production is from&nbsp;the 1980-1981 season. This is an encore presentation of the production made available last year on July 14th.<\/p>\n\n\n\n<p>Alexandre Dumas fils (the son of the author of&nbsp;<em>The Three Musketeers<\/em>) wrote the play,&nbsp;<em>La Dame aux cam\u00e9lias<\/em>&nbsp;on which Verdi\u2019s opera is based. Francesco Maria Piave wrote the libretto for&nbsp;<em>La Traviata<\/em>which had its world premiere in Venice in 1853.<\/p>\n\n\n\n<p>In the opera, Violetta, who is in declining health, throws an opulent party. At this party she is introduced to Alfredo by her lover, Baron Douphol. When signs of failing health get noticed by Alfredo, he encourages her to give up her lavish lifestyle. He also admits his great love for Violetta. A love triangle is now in play. From there the opera tells the story of a woman who sacrifices everything to live life on the edge.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Placido Domingo &amp; Ileana Cotrubas \u275b\u275bMoney Scene\u275c\u275c\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/DaC7NSDZxYI?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>This production had its share of backstage drama. John Dexter had been hired to direct the production, but soprano Ileana Cotrubas did not like his plans for the production and abruptly quit. When the Met replaced Dexter with Colin Graham, she returned to the production.<\/p>\n\n\n\n<p>Drama aside, <a href=\"https:\/\/www.nytimes.com\/1981\/03\/19\/arts\/opera-illeana-cotrubas-in-met-s-new-traviata.html\" target=\"_blank\" rel=\"noreferrer noopener\">Donal Henahan<\/a>, writing in the&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>,&nbsp;said of her performance, \u201cIt is unlikely that there is a better Violetta now on the world\u2019s stages than Ileana Cotrubas. In her first Metropolitan appearance as the pathetic courtesan, she gave a transfixing performance.\u201d<\/p>\n\n\n\n<p>Saturday, May 1&nbsp;\u2013&nbsp;Cilea\u2019s<strong>&nbsp;<em>Adriana Lecouvreur<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by Gianandrea Noseda; starring Anna Netrebko, Anita Rachvelishvili, Piotr Becza\u0142a and Ambrogio Maestri. This David McVicar production is from the 2018-2019 season. This is an encore presentation of the production made available last year on April 18th and earlier this year on January 4th and March 10th.<\/p>\n\n\n\n<p>Francesco Cilea\u2019s&nbsp;<em>Adriana Lecouvreur<\/em>&nbsp;had its world premiere in Milan in 1902. It features a libretto by Arturo Colautti. The opera is based on the 1849 Eug\u00e8ne Scribe&nbsp;and&nbsp;Ernest Legouv\u00e9 play&nbsp;<em>Adrienne Lecouvreur<\/em>.&nbsp;<\/p>\n\n\n\n<p>At the center of this opera is a love triangle. The title character is a beloved actress who has many possible suitors. She is in love with the Count of Saxony, Maurizio. He, though smitten with Adriana, is trying to fully break ties with his ex-lover, the Princesse de Bouillon. Insecurities and jealousies lead all three down a path that will ultimately end in murder.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"ADRIANA LECOUVREUR en direct du Met Opera - Extrait Anna Netrebko\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/y8EcYRT6co0?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><a href=\"https:\/\/www.nytimes.com\/2019\/01\/01\/arts\/music\/review-adriana-lecouvreur-metropolitan-opera.html\" target=\"_blank\" rel=\"noreferrer noopener\">Anthony Tommasini<\/a>, writing in his&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>&nbsp;review, said of this production, \u201cThe strongest scenes in the opera, involving the three principals, leapt off the stage on Monday, especially the confrontation between Adriana and the princess in Act II, when they discover that they both love Maurizio. Ms. Netrebko and Ms. Rachvelishvili sang ferociously as they hurled accusatory phrases at each other. Yet each found moments in the music to suggest the womanly longing that consumes them.\u201d<\/p>\n\n\n\n<p>Sunday, May 2&nbsp;\u2013&nbsp;Puccini\u2019s<strong>&nbsp;<em>La Rondine<\/em><\/strong><\/p>\n\n\n\n<p>Conducted by Marco Armiliato; starring Angela Gheorghiu, Lisette Oropesa, Roberto Alagna, Marius Brenciu and Samuel Ramey. This Nicholas Jo\u00ebl production is from the 2008-2009 season. This is an encore presentation of the production made available last year on April 15th and September 21st.<\/p>\n\n\n\n<p>Puccini\u2019s&nbsp;<em>La Rondine<\/em>&nbsp;had its world premiere in Monaco in 1917. The libretto, based on a libretto by Alfred Maria Willner and Heinz Reichert, was written by Giuseppe Adami.<\/p>\n\n\n\n<p>Multiple people collide in this opera about love. Magda is Rombaldo\u2019s kept mistress. While entertaining friends, including the poet Prunier, she realizes how much she misses being in love. Prunier is in love with Lisette, who is Magda\u2019s maid. A young man enters their group, Ruggero, who falls in love with Magda. Could he possibly provide the true love she so desperately desires? Who will end with whom and will they all live happily ever after?<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gheorghiu - Alagna - Puccini - La Rondine - New-York - 2009 (2\/2)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/rW3fovIY-A8?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Gheorghiu and Alagna were the hottest couple in opera when this production happened. They first met in 1992 while performing in&nbsp;<em>La Boh\u00e8me<\/em>&nbsp;together. They were married four years later while also doing a production of the same opera. In late 2009 they separated. They reconciled two months later, but did end up divorcing in 2013.<\/p>\n\n\n\n<p>But the chemistry was still very much alive in this production.&nbsp;<a href=\"https:\/\/www.nytimes.com\/2009\/01\/02\/arts\/music\/02rond.html\" target=\"_blank\" rel=\"noreferrer noopener\">Anthony Tomassini <\/a>wrote&nbsp;in the&nbsp;<span style=\"text-decoration: underline;\">New York Times<\/span>:<\/p>\n\n\n\n<p>\u201c\u2026in this sensitive staging, thanks to the expressive performances of Ms. Gheorghiu and Mr. Alagna, this excess of Italianate emotion just makes <em>La Rondine<\/em> more appealing.\u201d<\/p>\n\n\n\n<p>Well you&#8217;ve made it to the first weekend in May and the end of Week 59 at the Met. Au revoir \u00e0 la semaine prochaine! Profite de ta semaine! Profitez des op\u00e9ras!<\/p>\n\n\n\n<p>Photo: Roberto Alagna and Angela Gheorghiu in <em>La Rondine<\/em> (Photo by Ken Howard\/Courtesy Metropolitan Opera)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Metropolitan Opera Website<br \/>\n<br \/>\nApril 26th &#8211; May 2nd<br \/>\n<br \/>\nEnding Today: &#8220;Adriana Lecouvreur&#8221;<br \/>\n<br \/>\nStarting Tonight: &#8220;La Rondine&#8221;<\/p>\n","protected":false},"author":3,"featured_media":14048,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","footnotes":""},"categories":[24,7,2569],"tags":[4963,5193,8252,4914,7627,1717,4913,4842,7429,5836,5492,3447,7254,5764,6685,5317,4965,5313,5835,4860,7187,5187,2685,3934,4955,3292,5370,1366,3903,5125,5325,4956,5838,6395,5522,4959,607,5038,657,6396,5209,5028,599,100,4840,5839,5123,4988,5316,167,5121,4267,6687,7626,7834],"class_list":{"0":"post-13954","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-featured","8":"category-opera-bravo","9":"category-streaming","10":"tag-adriana-lecouvreur","11":"tag-alek-shrader","12":"tag-alexey-lavrov","13":"tag-ambrogio-maestri","14":"tag-andrea-chenier","15":"tag-angela-gheorghiu","16":"tag-anita-rachvelishvili","17":"tag-anna-netrebko","18":"tag-artur-rucinski","19":"tag-colin-graham","20":"tag-cornell-macneil","21":"tag-david-mcvicar","22":"tag-francesco-cilea","23":"tag-franco-zefferelli","24":"tag-franz-lehar-2","25":"tag-giacomo-puccini","26":"tag-gianandrea-noseda","27":"tag-giuseppe-verdi","28":"tag-ileana-cotrubas","29":"tag-james-levine","30":"tag-juan-pons","31":"tag-jules-massenet","32":"tag-kelli-ohara","33":"tag-la-boheme","34":"tag-la-rondine","35":"tag-la-traviata","36":"tag-laurent-pelly","37":"tag-lisette-oropesa","38":"tag-lucas-meachem","39":"tag-luciano-pavarotti","40":"tag-manon","41":"tag-marco-armiliato","42":"tag-maria-guleghina","43":"tag-marius-brenciu","44":"tag-matthew-rose","45":"tag-maurizio-benini","46":"tag-metropolitan-opera","47":"tag-michael-fabiano","48":"tag-nathan-gunn","49":"tag-nicholas-joel","50":"tag-paul-plishka","51":"tag-piotr-beczala","52":"tag-placido-domingo","53":"tag-renee-fleming","54":"tag-roberto-alagna","55":"tag-samuel-ramey","56":"tag-sir-andrew-davis","57":"tag-sonya-yoncheva","58":"tag-stephanie-blythe","59":"tag-susan-stroman","60":"tag-susanna-phillips","61":"tag-the-merry-widow","62":"tag-thomas-allen","63":"tag-umberto-giordano","64":"tag-wendy-white"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.7 - 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