I’m still kicking myself for missing the live broadcast (and encore showing) of Donizetti’s “Maria Stuarda” starring the incomparable, exquisite Joyce DiDonato, in her first foray into the prima donna bel-canto repertory where she rightly belongs. (It’s times like these I thank my lucky stars for Met Opera on Demand.)

Ms. DiDonato is a revelation, and we are lucky to have a performer of this caliber working today. Simply put, she gets it. She has flawless technique combined with impeccable diction and first-rate musicianship. Yet she understands that, in opera, all of that doesn’t amount to a hill of beans unless you thoroughly and completely give yourself over to your character and the drama. As you can see, she is Mary Stuart. This is some of the most nuanced, committed acting I have ever seen. The only other performer today who matches this level of artistry is Natalie Dessay.

Dear Peter Gelb: Please make Ms. DiDonato an integral part of your campaign to make opera a living breathing form of theater. And please award her the prime prima-dona star roles she so rightly deserves! She could go a long way in repairing the damage you’ve done with some of the Met’s recent bout of middle-of-the-road, tepid productions.

Side note: Can I just say, it’s such a kick to see South African soprano Elza van den Heever campily limping around the stage as Queen Elizabeth I. She is such a hoot! This over-the-top brilliant madness is the stuff opera was made for.                                        

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.

The acclaimed mezzo-soprano, Joyce Didonato, will portray the title character in Donizetti’s opera, “Maria Stuarda,” for the Metropolitan Opera’s 2012-2013 season. “Maria Stuarda” is one of the three “Tudor Operas” written by Gaetano Donizetti, based on the Friedrich Schiller play, “Mary Stuart.” The story depicts the last days of Mary, Queen of Scots and her rivalry with Queen Elizabeth. A recent Broadway revival of the Schiller play starred Janet McTeer as Mary, Queen of Scots and Harriet Walter as Elizabeth of England and was directed by Phyllida Lloyd.

“Maria Stuarda” had it’s premiere on December 30 1835 at La Scala, Milan. Donizetti composed the opera specifically for the mezzo-soprano Maria Malibran. In recent years, however, the title role has been played by numerous dramatic coloraturas, including Joan Sutherland, Maria Callas, and Beverly Sills, but several incarnations of the score exist with vocal writing to accommodate the mezzo and lyric fach.

This marks the first-ever production of “Maria Stuarda” at the Metropolitan Opera, and the second “Tudor Opera” to be staged following next seasons production of “Anna Bolena” starring Russian soprano Anna Netrebko.

The cast includes soprano Elza van den Heever (in her Met debut) as Elisabetta and tenor Francesco Meli as Roberto, Earl of Leicester. The production will be directed by David McVicar with Maurizio Benini conducting.