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      Met Opera’s Orchestra Will Tour Asia for the First Time

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      After the pandemic forced the cancellation of a tour planned for 2022, the ensemble will visit Japan, South Korea and Taiwan in June.The coronavirus pandemic forced the Metropolitan Opera to shut its doors for more than a year and a half. It also upended plans that had been in the works for the Met Orchestra’s first Asian tour.Now, that idea is being revived. The Met announced on Thursday that the orchestra and its music director, Yannick Nézet-Séguin, would visit South Korea, Japan and Taiwan in June, performing the music of Bartok, Wagner, Debussy and others alongside star soloists.The Met musicians have toured overseas just twice since 2000. Peter Gelb, the company’s general manager, said that, beyond showcasing them, the tour was meant to help the Met expand its network of fans abroad.“It’s important that we serve our global constituency with live performances in person when we can,” he said. “It’s very good for the morale of the orchestra to be able to perform in major cities of the world.”The tour, which includes stops in Seoul, Taipei, Tokyo and Hyogo, Japan, will feature more than 110 orchestra players, as well as the mezzo-soprano Elina Garanca, the soprano Lisette Oropesa and the bass-baritone Christian Van Horn. The program includes concert performances of Bartok’s “Bluebeard’s Castle” and excerpts from various operas, including Wagner’s “Der Fliegende Holländer” and Debussy’s “Pelléas et Mélisande,” as well as Jessie Montgomery’s “Hymn for Everyone.”Last year Nézet-Séguin, who became the Met’s music director in 2018, led a company tour, the first since 2002, in Europe. (A 2021 tour there had also been canceled by the pandemic.) “Bringing live music and performances to audiences around the world is my passion,” he said in a statement.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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      ‘As Living as Opera Can Get’: John Cage’s Anarchic Anti-Canon

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      In his “Europeras,” Cage dismantled centuries of tradition and expectations, for musicians and audiences alike. A rare revival is coming to Detroit.The start was typical: Oper Frankfurt in Germany asked John Cage to write an opera.But the premiere, in 1987, was unlike anything in opera up to that point. Cage, an American maverick whose philosophical, socially conscious works at the time were based on chance, mapped out an elaborate scheme for a show that would bring the entirety of European opera onto the same stage — at the same time.It was called “Europeras 1 & 2,” an enormous undertaking of controlled chaos, engineered with an eye toward history and populist reclamation, hence the title that implies both “Euro operas” and “your operas.” Each element, its rollout determined by the I Ching, unfolded independently from all others: Singers performed arias unrelated to the instrumental accompaniment, which was unrelated to the scenic and lighting design, as well as stage directions. (Audience members also received varied plot synopses that read like opera Mad Libs.)The public wasn’t exactly equipped to receive what Cage had served them. Laura Kuhn, who runs the John Cage Trust and worked with him as he prepared “Europeras 1 & 2,” wrote in her dissertation on the piece that the reception in Frankfurt varied from “overt enthusiasm to no less overt bewilderment or disdain.”But Cage kept going. At the Almeida Festival in 1990, he premiered “Europeras 3 & 4,” which will receive a rare revival this week at Detroit Opera, in a production directed by Yuval Sharon. In Cage’s series of works, which concluded with “Europera 5” in 1991, the whole became greater than its parts, with affection alongside the anarchy, and the feeling, Sharon said, that “this is as living as opera can get.”Yuval Sharon, left, the director of “Europeras 3 & 4” in Detroit, with the associate director, Alexander Gedeon.Brittany Greeson for The New York TimesIn Cage’s time, there were those who appreciated what Cage was doing. As “Europeras 1 & 2” was arriving in the United States, the artist and critic Richard Kostelanetz wrote that “by running innocently amok in European culture, Cage has come as close as anyone to writing the Great American Opera, which is to say, a great opera that only an American could make.”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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      Terence Blanchard and Anthony Davis in Close-Up at Jazz Concerts

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      Terence Blanchard and Anthony Davis, recent pioneers at the Metropolitan Opera, returned to earlier works in a pair of performances over the weekend.In the musical “Jelly’s Last Jam,” which just had an acclaimed revival in the New York City Center Encores! series, Jelly Roll Morton, a pianist and composer who claims he invented jazz, pays for his hubris. But while the show occasionally excoriates him, its fictionalized tale revels in his real-world achievements.On Saturday, during the final weekend of the run, Nicholas Christopher summoned wave after wave of electricity as Morton — not only during the song and dance numbers, but also during scenes in which he managed to create an affecting portrait of a figure who needed to hustle to receive his due credit.Morton’s biography resonated in two other concerts presented in New York on Friday and Saturday. These performances likewise featured the music of composers who have cut significant profiles in jazz, but with a privilege never afforded to Morton: Their works have made it to the stage of the Metropolitan Opera, the largest performing arts institution in the United States.Terence Blanchard’s “Fire Shut Up in My Bones” was the first opera by a Black composer to be presented by the Met, where it will be revived in April. At Jazz at Lincoln Center on Friday, he began a two-night retrospective with a program that delved into his early experiences playing with Art Blakey as well as his later work scoring films for Spike Lee.Then, at the NYU Skirball on Saturday, some early, sizzling early chamber music by Anthony Davis — whose opera “X: The Life and Times of Malcolm X” arrived at the Met last fall — received a rare airing from the International Contemporary Ensemble in a performance that also featured Davis playing some ferociously elegant solo piano.With their Met premieres, Blanchard and Davis have attained a status for Black jazz artists that would have made Morton, an opera lover, envious. But as these concerts demonstrated, there is much more in each composer’s catalog for audiences to mine.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: The Met Opera’s ‘Turandot’ Returns With a Strong Debut

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      In a revival of Franco Zeffirelli’s lavish production, the conductor Oksana Lyniv led a performance that transcended the gilded stage dressing.Puccini’s “Turandot,” a verismo opera set in a fabled version of ancient China, makes for an odd love story. Its unlikable romantic leads go largely unfazed by the death and dismemberment they instigate; when they finally share true love’s kiss, they’re standing atop a figurative pile of corpses.On Wednesday at the Metropolitan Opera, the conductor Oksana Lyniv made a strong debut, emphasizing the murderous, life-or-death stakes instead of the fairy-tale Orientalism that has made it a cultural lightning rod in recent years.“Turandot” has been on the receiving end of calls for revision and more for the stereotypes it perpetuates about Chinese people — such as its “dragon lady” title princess — recalling an imperialistic era of European chauvinism.The reckoning around “Turandot” creates a problem for the Met, because the company’s long-running production, a lavish spectacle introduced by the director Franco Zeffirelli in 1987, is a hit. The gold-and-ecru throne room of Act II still dazzles, and eye-popping exoticism runs rampant, with acrobats, ribbon dancers, curled-roof pavilions and a dragon puppet.But that stage dressing was not present in Lyniv’s exciting conducting. The brass stabs that open Act I had an almost expressionistic quality — severe, vital, grim — and the ones that closed it were cold, powerful and withholding. Taut strings and slinky woodwinds moved with dramatic, serpentine efficiency. Lyniv seized opportunities to foreground astringent harmonies.Turandot’s motif, which Puccini based on a Chinese folk song, was splendid without being decorative in Act I, and warmly earthy in Act III after the princess had been humbled. Lyniv’s sense of rubato created just enough elasticity for the singers to phrase naturally, as in the ministers’ dreamily nostalgic “Ho una casa nell’Honan.”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: Lise Davidsen Cements Her Stardom in Met Opera’s ‘Forza’

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      Lise Davidsen, entering the Italian repertoire at the company, was part of a superb cast as Verdi’s opera returned for the first time since 2006.As dramatic music swirled late Monday evening, the woman trudged a few steps pushing a filthy shopping cart — so hunched and bedraggled that she seemed like an extra, sent onstage to set the scene before the star entered.Then she opened her mouth, and a note emerged so pure and clear, widening into a cry before narrowing back into a murmur, that it could only be the soprano Lise Davidsen, cementing her stardom in a new production of Verdi’s “La Forza del Destino” at the Metropolitan Opera.In her still-young Met career, Davidsen has triumphed in works by Tchaikovsky, Wagner and especially Strauss. She has quickly become the rare singer you want to hear in everything. But Verdi and the Italian repertoire traditionally belong to voices more velvety and warm than hers, which has the coolly powerful authority of an ivory sword, particularly in flooding high notes.There were moments on Monday that wanted a soprano more fiery than ivory. Davidsen is statuesque, and her sound is too: grand and decorous. There were moments when the anguish of Leonora, the heroine of “Forza,” would have been more crushing if her lower notes had earthier fervor.But come on. Quibbles aside, there are vanishingly few artists in the world singing with such generosity, sensitivity and visceral impact.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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      Lise Davidsen Stars in ‘Forza’ at the Met Opera

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      The singer, best known in the works of Wagner and Strauss, is starring in the Metropolitan Opera’s new production of Verdi’s “La Forza del Destino.”Lise Davidsen, who grew up in Norway playing sports and considering a future in songwriting, didn’t see Italian opera onstage until she was working on her master’s degree as a budding soprano in Copenhagen.During her studies at the Royal Opera Academy a decade ago, she took in the classics: Puccini’s “Madama Butterfly” and “Tosca,” Verdi’s “Macbeth.” But she watched them without any thought that she would one day sing their famous roles.They were still not on her mind when, after skyrocketing to stardom with a lightning-bright sound and power perfectly suited for the works of Wagner and Strauss, she debuted at the Metropolitan Opera in 2019, in Tchaikovsky’s “The Queen of Spades.”On Monday, though, Davidsen, 37, will star in the Met’s new production of Verdi’s “La Forza del Destino.” And next season, she will sing the title role in “Tosca.” Suddenly, she has entered the world of Italian opera, taking on vastly different roles by two of its greatest composers.“I had to work harder to convince the houses that I could even do Verdi and the Italian repertoire,” Davidsen said in an interview. “But vocally, I am quite ready.”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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      Jaap van Zweden Bids Farewell, and Other Classical Highlights

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      The Philharmonic’s maestro ends his tenure, Igor Levit comes to Carnegie Hall, and the Metropolitan Opera takes a chance on reviving two recent hits.The New York Philharmonic’s spring gala is not usually of much musical interest. It tends toward mild fare — just enough to keep the donors happy before dinner and dancing.But this year, the playing will draw closer attention. The gala, on April 24, features the only appearance this season by Gustavo Dudamel, the Philharmonic’s next music director. He will take part in the celebration of the orchestra’s education programs, including its signature Young People’s Concerts, which are turning 100.The Philharmonic has been careful not to have its Dudamel-led future step too much on its less starry present. This season also brings the final months of Jaap van Zweden’s brief tenure as music director, which will begin on his favored ground: the classics.A mid-March program of Mozart’s elegant Piano Concerto No. 17 (with Conrad Tao as soloist) and Beethoven’s deathless Fifth Symphony is such a sure audience pleaser that the Philharmonic is confidently giving it four performances, rather than the usual three.Van Zweden led the orchestra in Beethoven’s Fifth in October 2015, a few months before he got the music director job. I wrote then that “conducting this imaginative and playing this varied don’t appear at Geffen Hall every week.” His meticulousness didn’t come off as mannered, as it sometimes does. The inner two movements felt especially inventive, and I’ll be listening for whether the whole thing has the polish and momentum that have tended to elude the orchestra recently.A few days later, van Zweden will turn his attention to the new, as the Philharmonic plays fresh pieces by Tan Dun — a concerto for the principal trombonist, Joseph Alessi, called “Three Muses in Video Game” — and Joel Thompson.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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      ‘Blind Injustice’ Opera Spotlights Wrongful Imprisonment

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      “Blind Injustice,” which is being staged at Montclair State University, tells the stories of people freed with the help of the Ohio Innocence Project.Near the end of “Blind Injustice,” an opera about six people who were wrongfully convicted of crimes and later freed, the exonerees reflect on the time they have spent behind bars.“What makes a person strong enough to endure injustice?” they sing. “What makes a person free?”Questions of prejudice, guilt and resilience run throughout “Blind Injustice,” composed by Scott Davenport Richards to a libretto by David Cote, which has its East Coast premiere on Friday at Peak Performances at Montclair State University.The work, which was commissioned by Cincinnati Opera and premiered there in 2019, explores the effects of wrongful convictions on the prisoners and their families, and the help to overturn their convictions that they received from the Ohio Innocence Project, a nonprofit organization at the University of Cincinnati College of Law.One man who was sent to death row describes spending 39 years in prison after being wrongfully convicted of murder. A bus driver falsely accused of sexual abuse describes the pain of being separated from her four children. “Oh Lord, protect them!” she sings. “Oh, God! Deliver me!”And a mother of a young man accused of murder pleads for his release. “Smash bricks into dust!” she sings. “Bust it! Bust it! Bust it! Bust this goddamned prison down!”The creators of “Blind Injustice,” from left: Scott Davenport Richards, Robin Guarino and David Cote.Jeenah Moon for The New York TimesWe 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