I take no pleasure in tearing down singers (I really don’t). But so much has been made of the soprano Danielle de Niese, and what a prodigy she is. Article after article mentions how she became the youngest singer ever accepted into the Met’s Lindemann Young Artist Development Program, her professional operatic debut at the age of 15 with the Los Angeles Opera, her Metropolitan Opera debut at 19 as Barbarina in Mozart’s “Nozze di Figaro” alongside Renée Fleming, Bryn Terfel and Cecilia Bartoli. These accomplishments are nothing to scoff at. They are mighty and considerable. But, oh, the glorification…spare me! It strikes me as just another example of the toxic fetishization of prodigies in our society and, to a larger extent, a product of America’s youth obsession which seems to be manifesting itself more and more in the opera world. The younger and faster a singer gets to the “finish line” (an international career), the better.

As a young singer, I can’t help but feel a bit bad about myself when I read articles (and there are plenty) about singers like Ms. de Niese, and I suspect others feels the same way. Never mind that, as a young tenor, my voice won’t really emerge until the age of 25, if then. Young singers everywhere are feeling the pressure to reach the Met by the age of 19 (an absurd notion for 90% of most singers out there). Ms. de Niese is the exception, not the rule, but the exceptions receive the majority of the press, creating a skewed perspective as to what it actually takes to build a successful international career, to say nothing of developing a young voice. 

But back to the subject of Ms. de Niese. At 34, still very young, but at an age when her voice should be in full bloom, her sound is shrill, thin, metallic and deeply manufactured. Perhaps making your Met debut at 19 doesn’t mean you’ll be a great singer? Everything is subjective, and if comments on YouTube are any indication, Ms. de Niese clearly has her loyal band of followers. But I simply can’t listen to her. Even some singers with technical shortcomings can compensate with sounds that are intriguing and beguiling in ways that keep listeners coming back for more (Marina Poplavskaya comes to mind). But Ms. de Niese’s sound isn’t just pallid, it is thoroughly and consistently monochromatic, making it both boring and unpleasant to listen to. She is also one of the first singers I’ve ever had trouble hearing at the Met. While attending a performance of the odious “The Enchanted Island,” sitting in the mid-orchestra section, I could barely make out Ms. de Neise’s singing. Her voice was so thoroughly devoid of resonance and squillo (ping), that she was practically inaudible - a troubling notion when one considers that “The Enchanted Island” was a Baroque pastiche with a reduced orchestra and I wasn’t that far from the stage.

This is all such a shame because Ms. de Niese clearly has the makings of an enthralling actress (if she’d ever find an intention to play other than “cute”), and she is an insanely beautiful woman. “Giulio Cesare’s” Cleopatra has become one of her signature roles, largely due to a notorious Bollywood style dance she performs in David McVicar’s Glyndebourne production. If she could sing properly, it would be the perfect melding of a role, actress and singer. I don’t begrudge the fact that she is an attractive young woman, though many do, and it is understandable. I really begrudge the media’s glorification of her status as a prodigy. I feel the emphasis on that is sending a far more dangerous message than anything else. As I said before, a young voice needs time, lots of time, to develop. When discussing her career in The New York Times, the wonderful mezzo-soprano Joyce DiDonato said, “It was a slow birth.” I hate to say this, but whenever Ms. de Niese was on stage during “The Enchanted Island,” my thoughts repeatedly drifted to Ms. DiDonato’s previous scene or aria. She was far more interesting to watch and listen to. Last weekend, the Met broadcasted the McVicar production of “Cesare,” that Ms. de Niese had originally starred in, with Natalie Dessay as Cleopatra. Singing with shimmering sound, bringing new shades and nuances to the role of the crafty queen with her prodigious acting skills, I couldn’t help but feel as though the much older Ms. Dessay was eons more compelling and effective than Ms. de Niese could ever be. Being a prodigy may make for good copy, but it doesn’t make for good opera.

Valhalla brought to you by ACUVUE® 2 COLOURS™

When the rainbow bridge just isn’t enough… 

Coppia iniqua! - From “Anna Bolena”

The final scene from “Anna Bolena” sung by Anna Netrebko. Please take note of the awesome final theatrical coup staged by David McVicar.

O Rolando, Rolando! Wherefore art thou Rolando?

A few years ago the soprano Anna Netrebko and the tenor Rolando Villazón were the opera world’s hottest package. The two were a guaranteed box-office draw, capable of selling out whole runs of performances just days after being announced. Cut to the disastrous 2009 performance of Donizetti’s “Lucia di Lammermoor,” where the two stars opened to mixed reviews, with Mr. Villazón delivering the most troublesome vocal performance of his career.

Vocal connoisseurs are a particularly unforgiving group. Even in sports, when an athlete gets injured, sympathetic fans expect to see him back on his feet, eventually. But the slightest vocal glitch can send a damning wave of tremors throughout the opera world; often seen as some sepulchral omen that a career is ending. Sometimes opera can seem more like a blood sport rather than an art form.

Singers often have to hide the fact that they’ve ever suffered any sort of injury to their vocal chords for fear of shame. In some cases, it can mean fewer bookings at opera houses.

Such is the unfortunate case of Mr. Villazón, who, after a long series of cancellations, announced in May 2009 that he would undergo surgery for a congenital cyst on one of his chords. He has since recovered, and is making regular appearances in Europe where he remains a huge star. 

But at the Met, Mr. Villazón has been all but declared persona non grata for the 2011-12 and 2012-13 seasons. This is especially dismaying when one considers that, not long ago, Mr. Villazón was being groomed to become the house’s next star tenor.

How sad it would be to think that Mr. Villazón’s career was cut short over the mere speculation of his vocal health. He is a truly remarkable performer with a wonderful instrument, and he has much more to give. Opera audiences could stand to be a bit more supportive. Vocal troubles are more common than people realize, and can be caused by any number of factors. As Natalie Dessay said, “Many many singers have operations on their chords. But they are ashamed of that, and they shouldn’t, because it may happen. It’s not a shame.”

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.

Opera Lover to Peter Gelb: More Eurotrash Please!

As the Metropolitan Opera totters into the final act of its increasingly dreary season, one has to wonder what happened to all that daring theatricality we were promised. The Met seems to have fallen into a formula of staging timid, tradition-bound productions, which give us an updated or slightly avant-garde mise-en-scène, but provide little in the way of illuminating the story.

When Peter Gelb assumed his position as the new general manager of the Metropolitan Opera, he spoke of his mission to usher in a new era of bold, daring theatrical innovation that would add a jolt of excitement to opera.

I dearly hoped for some audaciously shocking productions, replete with political themes, bold new perspectives, and exciting reinterpretations of familiar characters.

Alas, we have been subjected to an endless barrage of empty-headed productions; big on polish and spectacle, but utterly lacking in substance. These productions don’t excavate the text of an opera in an attempt to find new relevance; rather, they give us slightly modernized sets with novel bits of stage business. Everything looks new, but what transpires before the audience is really just the same old hokum.

What, pray tell, is the significance of Robert LePage’s graceless, lumbering set for his new Ring Cycle? Is there a reason the singers are only visible from the waste-up during the first third of “Die Walküre?” Is Mr. LePage making some kind of statement on the insignificance of the gods and their trivial doings? My guess is Mr. LePage would prefer that you not concern yourself with such matters as you watch the maladroit set lurch through its near six hours of ungainly configurations.

At the risk of offending the Met’s audience, could we take more risks with our opera? Could we be more offensive…dare I say, more German?

I don’t mind setting Gounod’s Roméo et Juliette during, say, the L.A. riots to incorporate race-relations into the tale of star-crossed lovers. It is not necessarily a crime to strip Alfredo and Violetta of their traditional, sumptuous Parisian trappings to turn ‘Traviata’ into an intimate chamber drama.

It is time for someone to shake the Metropolitan Opera’s stuffy audience out of their complacency. Gelb has been catering to middlebrow tastes for too long, and it is time to start treating opera more like exciting theater. The opera world will be a more courageous place for it. 

“It’s time for it to be universally acknowledged that Ms. Netrebko is the great diva of our day. She is the one providing the most charisma and excitement without sacrificing a lush, ever-darkening, still-agile tone.” - Zachary Woolfe (The New York Observer)

Unfortunately, I was not able to catch Anna Netrebko in ‘Anna Bolena’ at the Met this year. I had initially planned to, but my school obligations left me almost no time to visit the opera this year.

I did however manage to catch the tail end of the run with Angela Meade singing the title role. It was a waste of time. Everything you’ve heard about the Met’s production ‘Bolena’ is pretty much true. David McVickar’s production is atmospheric, but unimaginative and half-baked. I’m assuming it’s Ms. Netrebko’s presence that lifts the evening beyond utter banality.

Ms. Meade’s performance mainly confirmed what we already know: she has an impressive command of her vocal technique, and it was on ample display the night I saw her. The coloratura was impregnable; the sound perfectly focused and capable of filling this big house with ease. Her pianissimo phrasing was astonishing as was her formidable execution of trills, runs, fioratura and the messa di voce. It was a master class in cautious, but impeccably precise technique.

But Anna Bolena is not about impressive singing, no matter how many trills and runs Donizetti mandated in his score, and for all her technical prowess, Ms. Meade’s performance came off as ludicrous and, ultimately, guileless. (This is a major problem when you’re portraying one of the most ruthless women in history.) She is not an actress — She scrunched her face up to connote “anger,” did a little half-smirk when she was being “friendly,” and closed her eyes and laid her arms across her chest to be “at peace.” — but she doesn’t need to be Meryl Streep if she can cultivate a real stage presence. A little character study would become her, as would a good director. She needs to stop relying on stock gestures and timid acting tricks if she is going to become an actual artist.

Which brings me back to Ms. Netrebko. I plan to see the production when it returns in the spring with Netrebko back in the lead. After watching her last night in Eric Genovese’s beautiful production, staged at the Wiener Staatsoper (now available on Blu-Ray), I can safely say that this role signals a major milestone in her career.

Ms. Netrebko is one of the most controversial figures in opera, mainly because of her exceptional beauty and her undeniable star power. Many critics view her as the Brtiney Spears of opera, with her endorsement deals and her notorious partying, she has had a hard time being taken seriously. In the past, many opera buffs have found fault with her vocal technique, particularly in the Bel Canto repertoire for which she is best known. Many opera snobs imagine coloratura in a vacuum, as a mindless series of vocal calisthenics meant to be nailed with cool accuracy. Ms. Netrebko, in the tradition of Maria Callas and Barbra Streisand, understands that coloratura should be an organic outgrowth of the musical line, a means of amplifying emotion. Her runs and trills, accurate and stylish, never exist for their own sake.

More importantly, Ms. Netrebko is in her vocal prime, and she has scored a major triumph with this role. Her voice has never been more luscious and full (her legato singing could convert any nonbeliever), and while her voice may lack the spit-fire precision of Ms. Meade’s, Ms. Netrebko turns the calculating queen into a three-dimensional character. (No small accomplishment when you’re playing an Italian opera heroine.)

You get the sense that Ms. Netrebko understands every inch of her character. I don’t have enough space to get into the specifics of what makes her performance so electrifying; but suffice it to say, Ms. Netrebko possesses one of the most important and ineffable qualities that eludes many opera singers: charisma, an undeniable relationship with her audience.

When Ms. Netrebko is on stage, you simply cannot take your eyes off her. Her performance style deftly balances operatic grandiosity with subtle human emotions. It’s a specific style of acting; very tricky to pull off, yet it is the lifeblood of opera.

Take, for instance, the final cabaletta, “coppia iniqua,” when the disgraced queen slips in and out of sanity as she awaits her execution. Ms. Netrebko, looking directly into the camera, nearly burning right through it, seems to spit out every word as an accusation against all those who conspired against her. Ms. Netrbko may not have the voice of the great Callas (and I am not suggesting for a second that she does), but she has this blazing fire inside of her that lends an element of danger to her performance. It’s the same ineffable quality that came so naturally to Callas and made her so mesmerizing.

Ms. Netrebko has said that, for her, ‘Anna Bolena’ signals the next big phase of her career, as she soon plans to move in to the weightier Verdi rep. All I can say is, bring it on! Many argue that she has no business singing the virtuosic bel canto roles she has become known for, because she doesn’t practice truly flawless bel canto singing.

Perhaps, but I doubt anyone could argue with her riveting characterization of Anna Bolena. Simply put, this is the perfect part for her at the perfect moment. After a disastrous ’Lucia’ two years ago, and a misdirected turn as Antonia in ‘Les Contes D’Hoffmann’, Ms. Netrebko has finally staked her claim as a major artist.

Further more, she is an honest-to-god opera superstar (such things still do exist) with proven box office appeal. The opera community needs to be more supportive of charismatic singers who can draw in an audience and have them eating out of the palm of their hand. Ms. Netrebko is such a singer. Superb technicians make for a safe, pleasant listening experience. It is performers like Ms. Netrebko, who set audiences ablaze, and ultimately keep opera thriving.

“Well sung and carefully considered, her final scene was muted, settled at the same low emotional temperature as most of her performance. Ms. Meade’s gifts are formidable, but this “Bolena” was frustrating, largely immaculate and largely uninvolving.” - Zachary Woolfe

Click here to read more… 

The Met’s opening night pretty much snuck up on me without warning. But last night the opera house kicked off its new season with a much anticipated, first ever staging of Donizetti’s “Anna Bolena.”

Sadly, I must wait until the 18th to give my two cents about the show. The general consensus seems to be that Anna Netrebko blew it out of the park. (Except for The Washington Post, which deemed the whole affair an utter failure.)

So far, everyone seems to agree that David MicVicker’s production is too safe and muddled. Marco Armiliato’s conducting was deemed listless by several critics.

I’ll post a review after I see it later next month.

The Metropolitan Opera’s 2011-2012 season is looking pretty tepid from this operagoer’s perspective. One look at the Met’s website and publicity materials suggests that Peter Gelb is banking on a new production of Massanett’s “Manon,” and the house’s first ever staging of Donizetti’s “Anna Bolena.”

This is understandable, as both productions star Anna Netrebko - unquestionably THE current reigning soprano of the Metropolitan Opera. But “Manon” is an enervating, lightweight French opera that has a questionable place in the standard repertory. The one bright spot of this new staging is the brilliant Laurent Pelly. Pelly is one of the most inventive, resourceful directors working today and Natalie Dessay groupies (including me) will remember his sparkling ”Fille du Regiment” from three seasons ago which remains an unqualified triumph.

In addition to “Manon,” we have another new production of a silly French opera: Gounod’s “Faust” starring opera’s latest pinup: Jonas Kaufmann. Perhaps the new productions will change my opinion of these operas, but it doesn’t seem likely. I’ve seen, at least, a dozen productions of “Manon,” and I’ve yet to be convinced of the opera’s worthiness. 

The prospect of finally bringing “Anna Bolena” to the Met is enticing; I’ve always said that the Met should bring Donizetti’s ”Tudor Queen” operas to the Met, but one good Donizetti opera does not a satisfying season make. Predictably, the critical darling and all around Wunderkind, Angela Meade, will be sharing the run with Anna Netrebko, which is all the more discouraging given the fact that Anna Bolena is a role that requires a great actress as well as a great singer.

Of course the biggest, most expensive production of the season will be the two final installments of Robert Lepage’s lumbering “Ring Cycle.” Judging from “Das Rheingold” and “Die Walkure,” the chances of final chapters being brilliant seem slim to none. I agree with the critics in thinking that Lepage’s vision is an empty, high-tech spectacle with a hollow core. There’s a lot of scenery, but very little humanity or heart.

The biggest fly in the ointment would have to be “The Enchanted Island”: an operatic equivalent of a jukebox musical. The Met has decided to shoehorn a “plot” around several ensembles and arias by baroque composers like Handel, Vivaldi, and Rameau. Could we please put an end to baroque opera at the Met? Leaving aside the fact that I HATE baroque opera, the Met is a HORRIBLE venue for this kind of music. If the Met insists on presenting baroque works, they ought to consider holding it in one of the smaller venues at Lincoln Center, such as the Mitzi Newhouse theater.

I must admit that I really am looking forward to Natalie Dessay in Willy Decker’s spare production of “Traviata.” I know that the role of Violetta is about ten sizes to big for Dessay’s voice, but I also know her Violetta will be something completely different that we have never seen before. Dessay’s commitment to acting and drama will lend a whole new dimension to the role of Violetta. Say what you will about her voice: you just can’t take your eyes of this woman.

I’d really love it if the Met would mount a great, neglected Donizetti work for Dessay, or put her in one of the “Tudor Queen” operas. I’d love to see her in “Roberto Deveraux” or, if that is too heavy, perhaps “Maria Stuarda?” There are also TONS of other wonderfully dramatic Bel Canto operas that have never been performed and would be perfect for Dessay.

Lesser known Strauss is also sorely lacking from the Met. Strauss composed many great operas during his lifetime that are seldom performed, and it’s high time that changed. Last year’s “Capriccio” proved a surprise highlight of the season; with a uniformly superb cast led by Renee Fleming, the Met showed that this opera is a Straussian gem that deserves a regular spot in the repertory. 

“Die schweigsame Frau” is another wonderful Strauss rarity that needs to be seen. Dessay scored a triumph in the comic opera earlier in her career, and it would be wonderful to see her in it at the Met one day. It is very funny and has some sublime, prime-period Strauss music.

While we’re on the subject of star vehicles, could we please give Mariusz Kwiecien his own Bel Canto opera? The new forthcoming “Don Giovanni” is nice, but haven’t we seen enough baritones warble their way through this barn burner? And, anyway, it would be hard to top Christopher Alden’s mesmerizing staging last season at “City Opera.” It’s time to mount a new star showcase for the wonderful, charismatic baritones of today! Donizetti’s “Torquato Tasso” is a fantastic, yet neglected lyric drama that would be ideal for a baritone who can really act. (The opera comes complete with it’s very own mad scene.)

If Peter Gelb really wants to shake things up, he should look into staging forgotten works by known composers that the public adores. There comes a point where you just can’t take another stultifying evening of “Manon” or “Don Giovanni.” 

The Met Player is finally streaming its March 19th broadcast of “Lucia di Lammermoor” starring Natalie Dessay. If you want to have a near perfect opera viewing experience: watch this. The production was originally mounted for Dessay to open the 07-08 season, and she’s even better in it the second time around. 

The cast is uniformly excellent, particularly Ludovic Tézier; one of my favorite baritones, delivering the most nuanced, complex portrait of Enrico I’ve ever seen. The Maltese tenor, Joseph Calleja, has a bright, penetrating tenor that has only gained size and richness since his appearance in “Tales of Hoffmann” last season. He is a wonderful Edgardo.

I seem to be in the small minority of people who feel that the HD broadcasts diminish a lot of truly great performances. Opera critics have been accusing Peter Gelb of catering to the HD broadcasts by hiring singers that look great and give small scale performances best suited to the movie screen. But this ”Lucia” was more thrilling in the opera house (however it did translate, more or less, faithfully to film.) Along with “Capriccio” and “Don Pasquale” this is one of the best, nigh perfect, HD offerings from last season.

The new ‘Mad Scene’ video.

VA VA VOOM! Netrebko and Garanca as troubled queens in “Anna Bolena.” I’ve been watching this production, which was seen at the Vienna State Opera in April, and I’m super excited for the upcoming ”Anna Bolena” at the Met. If David McVicar’s production is half as good as this one, we’re definitely in for a treat. Sadly, we loose Garanca for the Met run, but we still get Trebbies and that walking wet dream known as Ildar Abdrazakov. What I find particularly thrilling about this performance, is how dynamic these two are together. Seeing this live must have been incredible!

I finally saw “Don Pasquale” at the movies last week, and found Otto Schenk’s grandly realistic production to be charming and effective. It must be said that the opera does not belong to the soprano or the tenor, but rather to the baritone and bass as they have more stage time and the better numbers. Granted, when Anna Netrebko is in the cast, it’s hard to steal the show, but Mariusz Kwiecien (as Dr. Malatesta) and John Del Carlo (as Pasquale) pulled it off with aplomb.

“Don Pasquale” concerns the title character, a crotchety old Don, and his decision to take a new wife. Little does Pasquale realize that his new wife, Norina, is secretly working with his doctor, Malatesta, and his nephew, Ernesto, to teach the old buffoon a lesson. Within minutes of signing the marriage contract, Pasquale’s sweet, young wife (Sofronia who is actually Norina) quickly morphs into a belligerent, big-spending shrew, turning his life (and house) upside down. After some great music and comic hijinks, all ends happily with Ernesto and Norina united in love and Pasquale having learned a valuable lesson.

The real standout of the evening was the dashing baritone Mariusz Kwiecien. He sang with robust, burnished sound and was equal parts dashing and comic as the scheming Dr. Malatesta. Why the Met isn’t mounting other Bel Canto gems for this exciting young artist, I’ll never know. Jon Del Carlo’s performance as the aging Don Pasquale was a full-throttle, comedic tour de force. One of the greatest singing actors I’ve ever seen, Mr. Del Carlo played up the Don’s obvious doltishness while still engaging the audience’s sympathy. That he managed to toss off Donizetti’s rapid-fire patter songs with uncanny ease made the performance all the more astounding.

For once, the evening didn’t necessarily belong to Anna Netrebko, but she nevertheless made an impression. The production was mounted for her in 2006, and she’s even better in its first revival. Netrebko sang with a rich womanly sound, gleaming top notes, and melting legato, shaping Donizetti’s phrases with an impressively conversational quality. More importantly, this was some of her finest acting to date. Norina is a role Ms. Netrebko clearly relishes, and her scenes with Mariusz Kwiecien were spellbinding. If anyone wants to see what sexual chemistry looks like, they should buy a DVD of this broadcast. Norina and Malatesta’s duets had an electricity that all but threatened to stop the show. The two of them so thoroughly oozed sexuality, that Norina’s romance with Ernesto seemed almost implausible.

Matthew Polanzani, the sweet-voiced American tenor, was saddled with the unenviable task of singing Ernesto (a wind-up canary of a part). Mr. Polanzani managed to be sympathetic and pitiable as the love-struck young man, but there was no chance of him standing out in the midst of such lively company. The evening reached it’s apex during Pasquale and Malatesta’s rapid-fire duet, “Cheti, cheti immantinente,” which has more words than the whole of “Tristan und Isolde,” and requires the singers to spit them out at lightening speed. Indeed, the frenzied ovation that Kwiecien and Del Carlo received led to a thrilling encore.

But this was really Mr. Kwiecien’s show. His smoldering good looks, creamy voice, and magnetic stage presence endow him with all the makings of a bonafide Met star. If Peter Gelb knows what’s good for him, he will stage more opera’s for Mr. Kwiecien. Between Anna Netrebko and him, they are the only two stars generating the kind of charisma and excitement that is vital to opera. Now if only more Metropolitan opera performances could match the level of this season’s ”Don Pasquale”…