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    Singer Sues Met Opera Over Firing for Post-Pregnancy Vocal Problems

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    The mezzo-soprano Anita Rachvelishvili, who suffered vocal problems during and after pregnancy, is suing the opera company — and the union that represented her — after she lost work.The Georgian mezzo-soprano Anita Rachvelishvili was once one of opera’s most sought-after stars, renowned for stirring, powerful performances in works like Bizet’s “Carmen” and Verdi’s “Il Trovatore.”But after she began experiencing vocal problems during pregnancy in 2021, her career suffered. When she returned to the stage of the Metropolitan Opera, company officials later said, she did not sing up to her standard. The Met canceled her upcoming engagements, and she lost work at other opera companies.Now Rachvelishvili, 40, is suing both the Met and the union representing her, seeking more than $400,000 in compensation for lost work. In a complaint filed in late March, she accused the Met of breaching its contracts with her, and she said that her union, the American Guild of Musical Artists, had failed to properly represent her.Rachvelishvili’s lawsuit claimed that the Met had been aware that she had “suffered complications from her pregnancy and birth affecting her voice and vocal range.” The suit described her as being “disabled due to her pregnancy” and accused the opera company of discriminating against her.“I was shocked that I was not given a chance to recover and all of my contracts for the next two years were immediately canceled without pay,” she said in a statement.The Met said it could not comment on pending litigation.Her complaint argues that the Met should compensate her because of a contractual agreement known as “pay or play,” which requires institutions to pay contracted performers even if they later decide not to engage them.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Conductor Joana Mallwitz Mixes Intensity With Approachability

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      Joana Mallwitz, one of Germany’s fastest rising stars, makes her Metropolitan Opera debut in “The Marriage of Figaro” on Monday.The conductor Joana Mallwitz rehearsing at the Met.The conductor Joana Mallwitz apologized for arriving late for her interview at the Metropolitan Opera House last week, but she had needed to catch her breath after rehearsal. “Conducting is sweaty business,” she said, as she settled into a straight-backed posture on a sofa in the press lounge, her striking hands with long fingers elegantly crossed at the wrists.On Monday, Mallwitz, 39 — the music director of the Konzerthaus Berlin and one of the fastest rising classical stars in her native Germany — makes her Met debut with Mozart’s “The Marriage of Figaro.” She has been in close relationship with that opera since her first job, at 19, at Theater Heidelberg, a small house where her duties included “everything that one does as Kapellmeister,” she said: rehearsing singers, playing the continuo part on the harpsichord and, when needed, jumping in at short notice to conduct a performance.“You develop a relationship with such a work,” she said of “Figaro.” “You get to know each other.”“You develop a relationship with such a work,” Mallwitz said of “The Marriage of Figaro.” “You get to know each other.”Vincent Tullo for The New York TimesAt the end of that afternoon’s rehearsal she had worked with the orchestra on minute details in the overture, finessing dynamic contrasts and highlighting the shock value — “like rock music,” she told the musicians — of the loud outbursts that interrupt the garrulous bubbling fast notes. The key, she said afterward, was to “bring a certain energy into the sound that doesn’t become hard when the playing gets louder.”Working with the Met musicians, she said, was a joy because after fine-tuning a small section, “they are able to feel what my style is and transfer it” to the rest of the piece. “They’re able to pick it up because mentally, too, they are virtuosos,” she said. “It’s incredible what this orchestra is able to deliver in terms of tempo and transparency and diversity of effects. You want to draw on all of that but also achieve a combination of lightness and drama.”Lightness and drama, approachability and uncompromising seriousness in her approach to a score — these are at the heart of Mallwitz’s striking rise to prominence in a profession long dominated by men. In 2014, at 28 she became the music director of Theater Erfurt, the youngest conductor to hold such a position in Europe. In 2018, she took over the leadership of the Nuremberg State Theater, an institution that had also served as a springboard for the conductor Christian Thielemann when he was 23. In her second season there she was voted best conductor of the year by a jury of German critics. A celebrated run of Mozart’s “Cosí Fan Tutte” at Salzburg in 2020 catapulted her to international attention.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: With ‘Fidelio,’ the Met Opera Does What It Does Best

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      The Met, a magnet for star singers, flexed its muscles to stack the cast of Beethoven’s only opera, with Lise Davidsen in the title role.Opera houses tend to have their specialties. They might be havens for adventurous directors or unusual repertoire, for grand spectacles or Baroque chamber dramas. The Metropolitan Opera, at its finest, is a destination for voices.The Met is a glamorously storied house with a welcoming audience and undeniable prestige. It hasn’t always been quick to cast today’s rising singers, but when it does, it holds on to them, sometimes even bending its repertory to match theirs.And occasionally, the Met will gather its favorites in a single opera, assembling a vocal all-star team. This is what the company does best, and it can be thrilling to witness, as in the revival of Beethoven’s “Fidelio” that opened on Tuesday.This “Fidelio” isn’t just excellently sung, including by the Met’s sensitive chorus: Jürgen Flimm’s fresh-as-ever staging from 2000 is also led with clarity, drive and insight by the conductor Susanna Mälkki. It’s just a pity that the revival is so brief, with only four more performances through March 15.These performances will also be the last of the season for the soprano Lise Davidsen. With a remarkably luminous sound in Wagner and Strauss roles, she has been a pillar of the Met’s recent casting. But she announced in January that she was pregnant with twins and would take a break from singing after “Fidelio.” (She is set to be back at the Met next year to star in “Tristan und Isolde.”)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A ‘Moby-Dick’ Opera at the Met Cuts the Blubber

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      Streamlining Melville’s sprawling novel, Jake Heggie and Gene Scheer’s moody, monochromatic 2010 adaptation has come to the Metropolitan Opera.The opening line of Herman Melville’s “Moby-Dick” is one of the most famous in literature. But Jake Heggie and Gene Scheer, whose moody, monochromatic 2010 adaptation arrived at the Metropolitan Opera on Monday, conspicuously avoid placing those classic three words at the start.It’s an early declaration of independence, the kind that artists have always had to make when turning a well-known novel — especially one as sprawling and shaggy as Melville’s — into singing. Heggie, who also composed the well-traveled opera “Dead Man Walking” (2000), and Scheer, an experienced librettist, have narrowed one of the canon’s most overflowing works to its core plot.For readers who enjoyed “Moby-Dick” but yawned through the rambling digressions about whaling, do I have an opera for you.The compressed adaptation is direct and clear, at least. Some contemporary operas, of which the Met has offered a burst over the last few seasons, lean heavily on confusing devices: complicated flashbacks; characters shadowed by doubles; singers playing metaphorical qualities like Destiny and Loneliness; split-screen-style scenes crossing place and time.“Moby-Dick” wants none of that. It stretches across a year or so, but in a linear way. It never leaves the ship Pequod and its salty surroundings. Its characters are flesh-and-blood people.Yet the opera only rarely takes on flesh-and-blood urgency. While the story is streamlined and straightforward — a ship’s crew struggles with the demanding whims of a vindictive captain — Heggie and Scheer also want to capture Melville’s brooding grandeur, philosophical profundity and portentous language.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jake Heggie’s Adaptation of ‘Moby Dick’ Comes to the Metropolitan Opera

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      Jake Heggie and Gene Scheer’s 2010 adaptation of Melville’s unruly novel opens this week at the Metropolitan Opera.When “Moby Dick” opens at the Metropolitan Opera this week, audiences will experience a deeply American story of unchecked ambition, fomented grievances and a self-destructive desire for revenge.Based on Herman Melville’s 1851 novel, the opera delivers an economical and resolute retelling of the fateful tale of the Pequod, a ship in pursuit of a vengeful white whale. The libretto, by Gene Scheer, hits the book’s main conflicts without losing track of the action. The score, by Jake Heggie, is graceful and propulsive. The opera’s ending is certain and clear.It’s probably fair to say that more people know the story of the white whale from parodies or synopses than from reading “Moby Dick.” But an adaptation is not just a summary of the book’s major events. A society obsessed with efficiencies can be overly focused on directness.Skillful though it is, the opera, which had its premiere in Houston in 2010, has a kind of scrubbed and airless storytelling that leaves the singularity of the novel behind. This is the sort of adaptation that audiences have long responded to — a simplification of the book’s billowy structure to emphasize its plot. But can a tidy adaptation truly represent this unruly book, with its dramas born of endless uncertainties? Or is the purpose of adaptation something different?The tenor Brandon Jovanovich, center, sings Captain Ahab at a dress rehearsal of the Metropolitan Opera’s production of “Moby Dick,” which opens on Monday night.Sara Krulwich/The New York TimesA composer decides what aspects of the narrative can be told through music, while a librettist shapes the story through words that can be thrown out into the air by way of song. An aria reveals a character’s singularity and ambition. Characters sing them to announce what they want and what lengths they must pursue to get it. Each creative turn adds distance from the book.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Met Opera Announces Its 2025-26 Season

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      Our critics choose highlights from a lineup that includes six new productions and modern works by Mason Bates, Kaija Saariaho and Gabriela Lena Frank.The Metropolitan Opera, which has championed contemporary opera in recent years as it works to attract new audiences, announced on Wednesday that it would bring three modern titles to its stage in the 2025-26 season.The company will open the season in September with the New York City premiere of Mason Bates’s “The Amazing Adventures of Kavalier & Clay,” an opera based on the 2000 novel of that name by Michael Chabon, which was first heard at Indiana University last fall. The lineup also includes local premieres of Kaija Saariaho’s final opera, “Innocence,” from 2021, and Gabriela Lena Frank’s first opera, “El Último Sueño de Frida y Diego,” from 2022.There will be new stagings of Wagner’s “Tristan und Isolde,” directed by Yuval Sharon, in his company debut; Bellini’s “I Puritani,” for the annual New Year’s Eve gala; and Bellini’s “La Sonnambula,” directed by the star tenor Rolando Villazón and featuring the soprano Nadine Sierra. Among the dozen revivals planned for the season are Bizet’s “Carmen,” Strauss’s “Arabella” and Giordano’s “Andrea Chénier.”Yannick Nézet-Séguin, the Met’s music director, will conduct the new productions of “The Amazing Adventures,” “El Último Sueño” and “Tristan.”The company’s embrace of contemporary opera, which its leaders have said is necessary to overcome serious financial pressures, with the belief that newer works sell better than the classics, has had mixed results. Attendance has averaged about 70 percent of capacity so far this season, compared with 73 percent at the same point last season. (Still, the Met said that it expected to reach an average of 75 percent capacity by the end of the season.)“It’s impossible to predict hits,” said Peter Gelb, the Met’s general manager. “On the other hand, if we don’t promote new works, then we’re saying goodbye to the art form.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Why Is an Entire Age of American Opera Missing at the Met?

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      “Vanessa” had the kind of pedigree you rarely see in a world premiere at the Metropolitan Opera.Samuel Barber, who was already famous for his Adagio for Strings, composed the score. Gian Carlo Menotti, his partner and an experienced hand at opera, wrote the libretto and directed. Cecil Beaton, mere weeks from winning his first Academy Award, designed the production. Dimitri Mitropoulos, the house’s leading maestro, conducted.On opening night, in January 1958, audience members sounded pleased during the intermission, according to a report. There were 17 curtain calls. The next day, Howard Taubman wrote in The New York Times that “Vanessa” was “the best American opera ever presented” at the Met. It would go on to win the Pulitzer Prize for music.The opera was revived the next season, and again in 1965, when a critic wrote that it “deserves to be kept in the repertory.” Instead, it disappeared from the Met.“Vanessa” has survived, to be sure. The aria “Must the winter come so soon?” is a staple of recitals and competitions. Conservatories and small companies stage productions; a “reimagined” version by Heartbeat Opera is coming to the Williamstown Theater Festival this summer.Why, then, is it impossible to see “Vanessa” at an opera house like the Met? That’s a question with deeper implications: If one of the finest, most enduring American works of the mid-20th century can’t make it to the grandest stage in the country, what hope is there for others from its time?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Edith Mathis, Radiant Swiss Soprano, Is Dead at 86

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      Known for her interpretations of Bach, Mozart and Weber, she was praised for her clear, bright voice and her perfect intonation even on the highest notes.Edith Mathis, a light-voiced Swiss soprano who sparkled in Bach, Mozart and Weber and was the agile-voiced favorite of several of the conducting giants who dominated mid-20th-century concert halls, died on Sunday at her home in Salzburg, Austria. She was 86.Her death was announced by the Bavarian State Opera in Munich, where she sang throughout the 1970s and ’80s.But she was also a star in all the world’s other major opera houses, including the Metropolitan Opera, illuminating roles like Cherubino and Susanna in Mozart’s “The Marriage of Figaro,” Ännchen in Weber’s “Der Freischütz” and Marzelline in Beethoven’s “Fidelio,” which she sang five times at the Met in 1971 under Karl Böhm. She was a favorite of his, as she was of his rival for conducting pre-eminence in the last century, Herbert von Karajan.The dozens of opera, oratorio, cantata and song recordings Ms. Mathis left behind illustrate why: a clear, bright voice, perfect intonation even on the highest notes, an unaffected manner and absolute service to the text — “the voice so reliably radiant and clear, the musicianship so reliably impeccable,” the British critic Hugo Shirley wrote in Gramophone magazine in 2018, reviewing a CD collection released by Deutsche Grammophon in observance of her 80th birthday. She was, the dramaturg Malte Krasting wrote in a tribute for the Bavarian State Opera, “the epitome of an ideal Mozart singer.”She was also ideal in the German lieder repertoire — Schubert, Schumann and Hugo Wolf — many of whose songs she recorded with all-star partners like Christoph Eschenbach and Graham Johnson.When, for instance, she sang the Schubert song “Schlaflied” in a 1994 recording with Mr. Johnson, she gave a slight, barely perceptible push to the German word “jedem” (“all” or “every”), in the line “And is healed of all pain.” The extra measure of reassurance for the poem’s subject, a young boy, adds a dramatic point to the whole song.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Paul Plishka, Prolific Soloist at the Met, Dies at 83

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      Known for his liquid bass tones and flawless diction, he appeared in 88 roles, many of them comic, over 1,672 performances at the Metropolitan Opera.Paul Plishka, an American singer acclaimed for his sonorous, liquid bass tones and near-perfect diction during a career at the Metropolitan Opera that spanned a half-century, died on Monday in Wilmington, N.C. He was 83.His death was confirmed by his wife, Sharon Thomas, who did not cite a cause or specify where in Wilmington he died.Known for a disciplined approach to choosing roles and a great concern for the development of his voice, Mr. Plishka was one of the most prolific solo singers at the Met, where he appeared in 88 roles over 1,672 performances.“I think the secret of my longevity was having the good sense to turn down repertoire that wasn’t right for my voice at the time,” he said in an interview for this obituary in 2023.Early in his career he preferred buffo, or comic, roles, especially in operas by Verdi. “My voice was more of the basso cantante — with a lyric kind of sound — not a villain’s voice,” he said.But as his voice changed, Mr. Plishka accepted more dramatic roles, including the title one in Mussorgsky’s “Boris Godunov,” as Philip II of Spain in Verdi’s “Don Carlos” and as Mephistopheles in Gounod’s “Faust” — all stellar performances.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More