Say what you will about Bartlett Sher’s patchy track record in opera, the man knows how to put on a lively show. (His nimble, industriously comic “Il Barbiere di Siviglia” is one of the few triumphs of Peter Gelb’s tenure.) Mr. Sher’s longtime designer and collaborator, Michael Yeargen, is a master at conjuring striking new worlds using poetically simple, highly arresting stage pictures. 

It’s easy to see why Mr. Sher was commissioned to direct a new version of Donizetti’s “L’Elisir d’Amore” to replace John Copley’s soggy 1991 staging, which returned to the Metropolitan Opera on Monday evening. With its sickly sweet cardboard sets and dreary lighting, this production brings to mind a child’s coloring book left out in the rain. Even the most fastidious of opera traditionalists will agree that it’s time for something new.

Fortunately, the Met has recruited an all-star cast that more than compensates for the problems plaguing Mr. Copley’s production. Mariusz Kwiecien, Diana Damrau and Juan Diego Flórez are arguably three of the house’s biggest stars, and Monday night’s performance provided an opportunity for audiences to see why.

As Nemorino, Juan Diego Flórez delivered some of the strongest acting of his career.  Playing the simple country bumpkin who pines for the shrewish Adina, Mr. Flórez harnessed his natural charisma to paint an endearing portrait of boyish, puppy love. (His drunken bursts of physical comedy got some of the biggest laughs of the evening.) His singing was strong and ardent, with impressively controlled legato and a clean, athletic execution of coloratura. In the past, Mr. Flórez’s sound has been a bit tight for my taste, but the comedic demands of the role seemed to free him here; his middle was uncharacteristically warm, his top clarion with plenty of squillo.

Diana Damrau improves with each performance, and her house role debut as Adina marks a new triumph for this exceptional soprano. As the proud and wily landowner who eventually falls for Nemorino, Ms. Damrau played the character with a canny mix of nuance and impeccable comedic timing. This Adina is a headstrong spitfire, but she’s also wonderfully endearing. 

The stridency that occasionally creeps into Ms. Damrau’s singing has all but disappeared. Here, her sound was plush and inviting, with ringing high notes and a creamy middle. Her use of fioritura was always tasteful, and executed with laser-like precision. 

Yet the technical accomplishment and effortlessness of Ms. Damrau’s coloratura emphasized the lack of drama behind her ornamentations. The runs, trills and scales that buttress the musical line were merely vocal calisthenics – never treated as an emotional expression or an organic outgrowth of the drama. The overall effect was distancing; Ms. Damrau’s singing only dazzled when it could have captivated. 

For devotees of Ms. Damrau, I do not mean to undermine her performance here, which was magnificent. I truly believe she is a major artist, capable of infusing more drama into this particular aspect of her singing. I am eagerly anticipating her turn as Violetta next season that promises to be an unforgettable night of opera.

Coming off a disappointing run as Don Giovanni earlier this season, the baritone Mariusz Kwiecien had an impressive outing as Sergeant Belcore. Oozing swagger and charisma, Mr. Kwiecien made it easy to see why Adina quickly falls for this hunk at the beginning of the opera. His singing has grown in musicianship and elegance over the years. The rich, sensuous bloom of his voice made for a swoony “Come Paride vezzoso” in Act I.

The veteran baritone Alessandro Corbelli, unparalleled in buffo roles, was masterful as Dr. Dulcamara. In his opening aria “Udite, udite, o rustici,” in which Dulcamara tricks the villagers into thinking a bottle of Bordeaux is a magic love potion, Mr. Corbelli dispensed the wordy, rapid-fire phrasing with aplomb. His workmanlike comedic gifts turned the number into the evening’s high point.

Donato Renzetti led an unsteady account of Donizetti’s sparkling score. Initially moving the tempi at a lugubrious pace, he eventually settled into a generally swift, exuberant interpretation, but continued to have noticeable coordination problems with his singers. Still, thanks to a terrific cast, this was a “L’elisir” to drink in.

The Metropolitan Opera announced their new season today. Unlike last season, there appears to be a few bright spots amid all the dross.

What I am excited for:

‘Maria Stuarda’ with Joyce DiDonato - After the success of ‘Anna Bolena’ - the only interesting thing the Met has staged this season - I’m totally pumped to see the untouchable, charismatic Joyce DiDonato take on one of Donizetti’s most complex heroines. ‘Stuarda’ is definitely my favorite of the three ‘Tudor Queen’ operas, and it will be nice to see the role, rightfully, returned to a leading mezzo soprano. I was actually a fan of David McVicar’s gritty, inky production of ‘Anna Bolena,’ but I hope he takes a fresh approach to this new ‘Stuarda.’ 

‘Rigoletto’ transplanted to Las Vegas - Finally, we can bid adieu to Otto Schenk’s drearily realistic production, which has been long overdue for retirement. Director Michael Mayer has provided some of my most pleasurable theatergoing moments but, as we all know, brilliant theater directors do not equal brilliant opera directors. Still, the idea of transplanting the tale of the hunchback jester to a seedy Las Vegas setting is just too tempting. Let’s hope Mr. Mayer is brave enough to realize his concept all the way through, instead of the usual timidly half-assed approach that has become the norm at the Met. Željko Lucic is one of the most elegant baritones working today, and Diana Damrau should make an excellent Gilda!

‘Un Ballo in Maschera’ by David Alden - Finally, an edgy “Euro-trash” director at the Met! David Alden, much like his brother Christopher, is famous for his bold, courageous reinterpretations of operas. I must admit that I am not really a fan of ‘Ballo,’ which is a hot-mess of plotting and themes. But given the right treatment, even the most problematic works can really take flight in the hands of a brilliant director. Mr. Alden is a pro with a distinct vision; he understands what makes opera tick, and is capable of providing a riveting theatrical experience.

What I am, tentatively, anticipating:

Thomas Adès’s ‘The Tempest’ - This is one brilliant fucking opera that deserves to be seen! I love all things Adès - whom I think is a genius, and one of the best composers of our generation - and his deeply personal take on Shakespeare’s comedy is thrilling and truly touching. What’s more: Simon Keenleyside, who created the role of Prospero, is back with his winning portrayal. Unfortunately, Robert Lepage is directing, so there is every chance that the production will swallow the drama and the music. After all, if Wagner couldn’t triumph over Lepage, what chance does Adès have?

‘L’Elisir d’Amore’ directed by Bartlett Sher - J’adore Bart Sher! Honestly, his work on ‘Light in the Piazza’ and his luminous ‘South Pacific’ were two of the most emotionally devastating (in a good way) pieces of theater I’ve had the privilege of witnessing. But, Sher’s track record with opera has been more varied. Anna Netrebko proved she was one of the toughest bitches around with her stunning ‘Anna Bolena’ earlier this season. Under the guidance of a good director, she can be one of the most truthful, nuanced actresses in all of opera. But one of her worst, most embarrassing performances came courtesy of Mr. Sher in his muddled ‘Contes d’Hoffmann.’ Let’s hope Mr. Sher has a plan going in this time, and that he gets plenty of rehearsals with his leading lady.

Handel’s ‘Giulio Cesare’ - I’d rather chew my arm off than sit through a Handel opera - make that any Baroque opera. ‘The Enchanted Island’ was a particularly punishing night at the opera. But Natalie Dessay could sing ‘Twinkle, Twinkle, Little Star’ and make it interesting, and La McVicar has, apparently, worked wonders with this opera. It’s unfortunate that this is the only Dessay appearance of the season, but this might end up being a delightful surprise.

For once the vapid, disappointing world of Broadway has thrown me a genuine curve ball. Lauren Ambrose, of “Six Feet Under,” will play Fanny Brice in the upcoming revival if “Funny Girl” directed by Bartlett Sher. This comes as a genuine shock, as I was sure it was going to be Lea Michelle and I don’t think Ms. Abrose was on anyone’s list as a contender for the part. In recent years, Ms. Ambrose has proven herself a gifted, young theater actress in plays such as “Exit the King” and “Romeo & Juliet” for which she received rave reviews.

“It was a wonderful surprise. She wasn’t honestly a front-runner for the part until she called me, asked to audition and came in and blew us all away.” said Bartlett Sher, ”Lauren was the only person I saw with the deepest acting skills, the capacity to sing everything in this role and an emotional richness that really worked for Fanny at all ages.” Mr. Sher added that Fanny Brice is “the toughest role I’ve ever had to cast,” and apparently saw a number of Broadway actresses including Laura Benanti (from the 2008 “Gypsy”), Kelli O’Hara (“South Pacific”), Stephanie J. Block (“9 to 5”), Leslie Kritzer (“A Catered Affair”), and Lea Michele (“Spring Awakening,” the Fox series “Glee”).

“I was drawn to reviving the musical for other reasons, chiefly the story of women who work in the theater and the arts and want love and success and happiness but have to choose among them,” said Mr. Sher, who despite having a checkered track-record at the Metropolitan Opera, directed one of the most revelatory productions of “South Pacific” in Broadway history. Mr. Sher added, “It’s very important that no one think I was trying to cast someone to replace Barbra Streisand. Anyone who thinks they’re coming to see the next Barbra Streisand should not come see ‘Funny Girl.’”

In conjunction with my article about Le Comte Ory at the Metropolitan Opera this week, I got to thinking about singers today. As usual, the critics had their way with each singer’s voice. The problem is, tastes are so diverse and so personal, it’s hard to really get a general consensus. The laundry list of qualifications - Is it really Bel Canto singing? Is the voice warm enough? Is the coloratura precise? Is the voice too small? - all play an unfair factor in assessing a singer…and you thought the fashion industry presented an unrealistic standard of beauty?

Every critic judges a voice based on some paradigm - consciously or otherwise - and so, most assessments of singers comes down to simple comparison. Here in lies the problem: every voice is different. Every. It’s the same as attempting to judge which fingerprint is the best.

Personally, I tend to favor singers who use their voices as an instrument for the drama. I welcome expressivity, unique phrasing, even ornamentations as long as they are justified by intention and drawn from the text. Sure, there are certain vocal qualities that are not to my taste, and there are voices that are just plain bad. The ultimate measure for a singer’s sound should be, Is this a sound you want to listen to?

But when I’m in an opera house, I want more than sounds. I want artistry, personality, and risk.

Diana Damrau is an extremely talented young artist. She is - by and large - beloved by the opera public for her musicianship and technical prowess.

I seem to be in the minority of people who are not totally enamored with everything she does. She has a beautiful voice - I find it a tad strident at times - and she’s an intense, energetic actress. I just haven’t been moved by her on stage before. To me, she seems to lack any personal statement as an actress and artist.

So, I found myself perturbed after reading Anne Midgette’s assessment of her performance in Le Comte Ory. Ms. Midgette wrote, “[Diana Damrau] phrased with skill and sensitivity to express the nuances of her character’s sometimes outraged modesty. I wanted a little less nuance. Italian opera wasn’t written to be delievered with good taste; I wished Damrau had taken more opportunity to show off.”

As a longtime reader/fan of Ms. Midgette, I found this comment to be puerile and insulting. Clearly, Ms. Midgette wants Ms. Damrau to sing her music with a gorgeous tone in full voice…and nothing else. Essentially, Ms. Midgette is implying that Ms. Damrau’s singing is too thoughtful and personal, when it should just be blandly pretty. Whatever happened to musicianship? Why shouldn’t she sing this music her own way? Without any personal stamp, what distinguishes her from any other soprano? Moreover, isn’t the practice of pulling nuances from the music part of the drama? I would define that as acting through the voice - something which opera critics bemoan the loss of.

More frightening was a blurb on Ms. Damrau in an article by Anthony Tommasini who wrote, “Some critics thought Ms. Damrau’s Rosina in Bartlett Sher’s inventive new production of Rossini’s “Barbiere di Siviglia” this season was too willful and intense; a sweet but resolute young woman emerged as a quarrelsome spitfire.”

What is the point of performing these operas time and again if you don’t have a fresh take on them? It is stultifying enough to put a mandate on singing, but the suggestion that there is only one way to play a certain character debunks all notion of opera as drama. This isn’t literature, it’s theater.

No one asks Kevin Kline to do Hamlet ala Sr. Lawrence Olivier. Why not release Rosina from the clutches of…god. Who knows how many sopranos!?

Every element of the Metropolitan Opera’s new production of Rossini’s  “Le Comte Ory,” which opened this week, has been chewed over by critics and opera lovers.

There have been pro, con and mixed reactions to the director Bartlett Sher’s production; to the singer’s voices; and to Maurizio Benini’s conducting of Rossini’s score. By now, this has become de rigueur for a new production at the Met; since Peter Gelb became general manager, new productions frequently draw mixed to lukewarm reviews.

Gelb has drawn heavy criticism from the opera world in just about every respect. Most accuse Gelb of favoring attractive singers over stronger voices. Others surmise that he’s building new productions specifically for HD transmissions - hiring directors and singers who use a naturalistic approach to acting with a small economy of movement that wouldn’t read from a stage.

This week, in a bold stroke , Gelb wrote an article for the New York Times that addressed almost every accusation aimed at him. It was a fascinating read and I thought it was long overdue.

If you ask any actor or director worth their salt, they’ll tell you that a motivated, believable performance will translate to the stage or screen - a point Gelb emphasized in the article.

Many opera critics feel that due to the HD transmissions, singers have been downsizing their performances; utilizing acting techniques that are too subtle to register in an vast opera house. They argue that opera requires a highly stylized performance with singers using big, expansive gestures.

The rationale for this argument, is that opera is a whole different animal than, say, film or theater and thus, should be staged differently. While I disagree, this assertion is not entirely untrue. Music is the drama in opera and it serves many aspects of the storytelling. However, opera is theater, and nuanced acting does not diminish any aspect of the art form.

Great actors of yore tended to move and emote in ways that, today, would be considered beyond camp. Indeed, using larger-than-life gestures, mannered intonation, and affected speech-patterns, the Shakespeare of the early 20th century, was not the Shakespeare of today. Styles change. Perception changes. By the early 20th century, a whole new school of emerging directors, actors, and playwrites - who strove for verisimilitude and increasingly complex characters - changed everything.

Even screen performances have changed. Just compare any movie from the 20’s, 50’s to today, and you’ll see a distinct difference in the acting styles. 

Opera has long been confined to it’s own little bubble - the preservation of the music has fostered the notion that everything be preserved. But opera must evolve as all other drama has over time. Hamlet’s text has largely survived unaltered through the centuries, but the readings/interpretations have changed and evolved. 

Bart Sher’s production of South Pacific was a great example of how music, drama, and heightened emotions can merge into a transcendental experience at the theater. Lavishing as much detail on the music as on the acting (with an exquisite cast of singing actors), these characters, once thought of as dated, suddenly emerged as living, breathing people. The singing was perfection, the acting was subtle and nuanced; when the characters broke into song, they tapped into a well of complex emotions that cannot be achieved through mere prose.