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      Overlooked No More: Klaus Nomi, Singer With an Otherworldly Persona

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      His sound and look influenced everyone from Anohni to Lady Gaga. He also sang backup vocals for David Bowie.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.A wide range of musical genres fueled New York’s nightclubs in the late 1970s and early ’80s, including new wave, no wave, punk and post punk. Klaus Nomi, who performed during that era, defied being categorized under any of them.“I wouldn’t give it a label,” Nomi said of his sound in a Belgian television interview. “Maybe the only label is my own label: It’s Nomi style.”His music combined opera, infectious melodies, disco beats, German-accented countertenor vocals and undeniable grandeur. He influenced everyone from the singer-songwriter Anohni to Lady Gaga; in 2009, when Morrissey was asked to select eight essential records for the BBC radio program “Desert Island Discs,” Nomi’s version of Schumann’s “Der Nussbaum” made the list.Nomi’s stage look was equally eclectic, and inseparable from his sound. The gender-fluid mix included dark, dramatically-applied lipstick as well as nail polish, the occasional women’s garment and often a giant structured tuxedo top that suggested Dada as much as sci-fi. His style influenced the fashion world as well, in collections by designers like Jean Paul Gaultier and Riccardo Tisci.Nomi’s look was indisputably nonbinary, and a bit otherworldly. “He still comes across as an outrageously expressive and strange figure,” Tim Lawrence, author of the 2016 book “Life and Death on the New York Dance Floor, 1980-1983,” said in a phone interview.“There was something about his entire being, which seemed to be queer, around makeup and voice and music and dress,” Lawrence said.Nomi — or Klaus Sperber, the name he was born with — moved to New York City from his native Germany in the early 1970s. He fell in with a group of creative friends and in late 1978 joined many of them to perform at New Wave Vaudeville, a series of quirky variety shows. The bill included a stripper, a singing dog and a performance artist dressed as a sadistic nun.Nomi, in the background at center, at the Mudd Club in Manhattan in 1979, the year he met David Bowie there.Alan KleinbergAs the closing act, Nomi sang an aria from Camille Saint-Saëns’s “Samson et Dalila” while wearing a transparent raincoat over a shiny, fitted top and pants along with dramatic eye makeup and lipstick.“He really blew people’s minds,” Ann Magnuson, who directed the shows, said in an interview. “He had all these snarky punk rockers out there who were speechless.”With the performances came a new name, inspired by the name of a magazine focused on outer space, Omni.“Klaus said, ‘I can’t go out as Klaus Sperber,’” his friend Joey Arias, the singer and performance artist, recalled by phone. “‘That’s not a star’s name.’”Soon he was performing as Klaus Nomi at tastemaker Manhattan clubs like Max’s Kansas City and Hurrah, with a set list created with the help of Kristian Hoffman, a musician who served for a time as his musical director. The material included edgy originals and unconventional takes on well-known hits. Lesley Gore’s “You Don’t Own Me” became an enraged dirge, for example; the chorus of “Lightnin’ Strikes” morphed into an aria. The thought was that pop songs would “catch the ear of an audience who isn’t ready for opera,” Hoffman said in an interview.As The New York Times put it in a review of one of his performances, Nomi’s music was “positively catchy, in a strange sort of way.”One night in late 1979, Nomi and Arias were at the Mudd Club, in TriBeCa, when they met David Bowie there. Nomi called him later — Bowie had asked him to, scribbling his phone number with a friend’s eyeliner — and Nomi and Arias were recruited to be Bowie’s backup singers for an appearance that December as the musical guest on “Saturday Night Live.”For the show’s three songs, they wore clinging women’s Thierry Mugler dresses, purchased at Henri Bendel. The look was extremely provocative at the time, especially on national television. Throughout, the TV cameras’ focus seemed to be as much on them as on Bowie.“It legitimized everything, because it had been sort of a private scene, and all of a sudden there it is, right in front of you on ‘Saturday Night Live,’” said Katy Kattelman, a designer who is known professionally as Katy K and who was a friend of Nomi’s.Soon after, Nomi signed a record deal with RCA France. His debut album, titled simply “Klaus Nomi,” was released in Europe in 1981; a second album, “A Simple Man,” came out the next year. The records sold well — “Klaus Nomi” earned gold-record status in France — and he performed abroad to packed venues.Nomi returned to New York toward the end of 1982, excited by the prospect of possible American tours and releases. But he arrived gaunt and exhausted — he had contracted AIDS. He died of complications of the illness on Aug. 6, 1983. He was 39.A scene from the 2004 documentary “The Nomi Song” showing Nomi getting ready for a performance.Palm PicturesNomi at Hurrah, one of many nightclubs he performed at in New York City.Harvey WangKlaus Sperber was born on Jan. 24, 1944, in Immenstadt, a town in what was then West Germany. He was raised by his mother, Bettina, who worked odd jobs. A fling with a soldier, whom Klaus never met, resulted in his birth. When he was a child, he and his mother moved to the city of Essen, about 400 miles away. Opera music was often playing in their house, and it set Klaus on his path.“The first time I heard an opera singer on the radio I said, ‘My God, I want to sing just like that,’” he said in interview footage that is included in the 2004 documentary “The Nomi Song.” As a teenager, he became equally fond of Elvis Presley.He moved to West Berlin and worked as an usher at Deutsche Oper, where he sometimes sang for colleagues after the audience had left. But he aspired to sing professionally, and, Arias said, “he felt like he was at a dead end.”“He wanted to come to New York because he felt like it would change his life,” Arias added.Nomi settled in Manhattan’s East Village. He worked for a while in the kitchen of the Upper East Side cafe and celebrity hangout Serendipity 3 and started a baking business with Kattelman called Tarts, Inc., supplying restaurants with desserts made in Nomi’s St. Marks Place apartment.Nomi was known to frequent after-hours clubs, like the Anvil and Mineshaft, where casual sex was commonplace. There were sexual encounters at home as well — Arias said he once arrived at Nomi’s apartment to find a naked Jean-Michel Basquiat toweling off.To get a green card, he married a woman, Melissa Moon, a U.S. citizen, in 1980.“I don’t think he was in any way being anything that wasn’t himself, which was pretty gay as far as I knew,” said the artist Kenny Scharf. “When you’re creating your persona, the sexuality part is obviously part of the persona. It was all part of his sense of style and him being an artist in every way.” More

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      Wagner’s Early Operas Shouldn’t Be Mere Curiosities

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      A survey at Oper Leipzig provides an opportunity to reassess the youthful efforts that have been excluded from the composer’s canon.LEIPZIG, Germany — How quickly Richard Wagner changed his mind about “Rienzi,” his first successful opera.In his self-aggrandizing memoir, “My Life,” assembled at the request of the Bavarian King Ludwig II and dictated to his wife, Cosima, Wagner described the 1842 opening night as something like the apotheosis of his artistic coming-of-age. “No subsequent experience,” he said, “has given me feelings even remotely similar to those I had on this day of the first performance of ‘Rienzi.’”Granted, that was written before bigger achievements: inaugurating his Bayreuth Festival Theater with the first “Ring” cycle in 1876, or premiering his final work, “Parsifal,” six years later. But Wagner nevertheless regarded “Rienzi” with affection.Affection, and then indifference. By the time he was working on “Lohengrin,” in the mid-1840s, “Rienzi” had become, he said, “a work that no longer interested me” — a welcome, much-needed source of income, but not a reflection of the poetry, mystery and singular musical language that would come to define his mature operas.And so, when the non-“Ring” and “Parsifal” works were slowly introduced to the Bayreuth stage by Cosima after her husband’s death in 1883, she stopped short of “Rienzi,” going back only as far as its successor, “Der Fliegende Holländer,” and codifying the 10 canonical operas that continue to be performed at the festival today.Doomed to exclusion and obscurity were his three earlier efforts, which in addition to “Rienzi” include “Die Feen,” a work never performed in Wagner’s lifetime, and “Das Liebesverbot,” from 1836. All have appeared onstage throughout the years, but they remain curiosities.Should they? At Oper Leipzig, in Wagner’s hometown, a survey of his entire stage output — a festival called Wagner 22, which continues through July 14 — offers a fresh opportunity to assess his early works in juxtaposition with their canonical siblings, and in chronological order.The trio of rarities reveals an impressionable composer who, before finding a voice of his own, knew how to expertly draw on those he admired; and who, before pioneering a declamatory style of operatic dramaturgy, rapidly developed a keen sense for theatrical storytelling and a grasp for the fashions of his time. In some ways, he is himself from the start, writing less in a mode of entertainment than of profound exploration — in the tradition of Mozart’s collaborations with Lorenzo Da Ponte, like “Don Giovanni,” and of Beethoven’s fiercely political “Fidelio.”Mozart especially looms over “Die Feen,” composed when Wagner was 20 years old. It came after he had abandoned an earlier work, “Die Hochzeit,” and after he had rejected a suggestion to compose an opera about the life of the Polish national hero Tadeusz Kosciuszko. He wrote the libretto himself, inspired by Carlo Gozzi’s “La Donna Serpente,” setting a precedent for all of his works.“I had really become a ‘musician’ and a ‘composer’ and wanted simply to write a decent libretto,” he later recalled, “for now I realized nobody else could do this for me, inasmuch as an opera book is something unique unto itself and cannot be easily brought off by poets and literati.”Renaud Doucet’s production of “Die Feen” blends the opera’s dreamy fantasy with the realism of a contemporary apartment.Kirsten Nijhof“Die Feen” didn’t premiere until 1888, five years after Wagner’s death. So he was spared the pain of the public reception it might have had in his youth. It’s impossible to say what that would have been, but from the perspective of 2022, the opera is, frankly, not very good. And that’s not the fault of Oper Leipzig, which — in a reminder that the performing arts continue to tread carefully under the threat of Covid-19 — put on its production last week with last-minute replacements for not only the two leading roles, but also the conductor.If anything, the staging, by Renaud Doucet, helps orient viewers with a work they probably don’t know, aided at every turn by the clear and luxurious sound of the Gewandhaus Orchestra in the pit. Doucet’s production is set in the present, at the home of a man who tunes in to a radio broadcast of the opera, which provides a contextualizing introduction. The dreamy action begins to intrude on reality; this evening is as much about discovering “Die Feen” as performing it.The libretto features the subplots of a Mozart comedy and the Romanticism of Carl Maria von Weber, whose “Der Freischütz” was formative for the young Wagner. Stylistically, the music is indebted to them as well. These arias are designed to open up the inner thoughts of the characters, without the grace that would come in, say, the incidental ruminations of Hans Sachs or the delirium of Tristan.“Die Feen” is a number opera — far from the “endless melody” Wagner would describe in his 1860s essay “Music of the Future.” And it’s a clumsy one, attempting in the third act to weave aria pauses into a breakneck pace and an abrupt, Orphic turn. Like Wagner’s instrumental works from around that time, it doesn’t need to be taken out of the curio cabinet except for the occasional dusting.A similar fate shouldn’t befall “Das Liebesverbot,” Wagner’s first staged opera. A loose adaptation of Shakespeare’s “Measure for Measure,” it was mostly met with shrugs at its premiere. But, while still a world from the mature works, it is a skillfully, entertainingly told story with depth and resonance.The Italianate overture, which begins with a ringing tambourine and festive percussion, isn’t recognizably Wagner. But the opera’s substance is. His librettos were like subtweets; that’s why, Wagner believed, the critic Eduard Hanslick cooled on him after a reading of the text for “Die Meistersinger von Nürnberg,” a cri de coeur against artistic gatekeeping. Here, Wagner’s target is chastity-obsessed conservatism and the bad behavior it breeds.He would later wrestle with socially unacceptable sensuality in “Tannhäuser” and “Tristan und Isolde,” not without an element of autobiography. Neither of those works, though, is as barbed as “Das Liebesverbot,” which skewers hypocrisy — with crimes and punishment for the #MeToo age — while arguing that morality is a malleable thing on which we can only try to force rigidity.Tuomas Pursio as Friedrich, the moralistic governor who gets his comeuppance in “Das Liebesverbot.”Kirsten NijhofFor close listeners, there are flashes of the future Wagner. And coincidences as well; the line “Es ist ein Mann” recalls its opposite, “Das ist kein Mann!,” which Siegfried exclaims upon discovering the sleeping Brünnhilde in the “Ring.” Early on, when the heroine, the novice Isabella, is introduced with a prayer, the music seems to prefigure “Parsifal.”Much closer to mature Wagner is “Rienzi,” a sprawling, five-act adaptation of Edward Bulwer-Lytton’s novel about Cola di Rienzo, a 14th-century tragic figure of Italian politics who took on a new importance in nationalistic movements of the 1800s. If “Tannhäuser,” another transitional work, is on unsure ground stylistically, “Rienzi” is even more so: transparently an answer to the grand operas of Giacomo Meyerbeer, yet also contending with a new musical language that would take shape with “Holländer.”In Leipzig, “Rienzi” was, understandably, presented with extensive cuts. Employing requisite elements of grand opera, like a plot-stopping ballet, the original version ran more than six hours. It was so long, it was later split into two evenings, “Rienzi’s Greatness” and “Rienzi’s Fall,” but reverted to one after audiences responded negatively to paying for multiple tickets.After cuts, the Oper Leipzig “Rienzi” still lasted a little more than four hours, and unfolded on an expansive scale, despite missing 21 chorus members out with Covid-19. The work is best known today for its overture, a staple in the concert hall and the easiest way to share the music, which otherwise demands a substantial investment for an enormous cast and production, along with a tenor with the stamina to endure a punishing role on the level of Siegfried and Tristan. (Here, Rienzi was fearlessly sung by Stefan Vinke, a veteran Siegfried.)“Rienzi” speaks as much to the present as its own time, and not just because it includes a scene in which a mob storms a capitol building. As in “Lohengrin,” Wagner interrogates the limits of charisma and the burden of leadership, and begins to deal in the ambiguity and complication that would course through his canonical works. And he does so in an increasingly declamatory rather than melodic mode, never more than in Rienzi’s Act V prayer, “Allmächt’ger Vater.”The work was a hit when it premiered in Dresden, admired by colleagues and audiences alike. Less well received was “Der Fliegende Holländer,” which debuted at the same theater about two and a half months later and signified an entirely new direction for Wagner — one in which he would call his librettos “poems,” and in which he would bear out his vision of “The Artwork of the Future.”“The management saw itself compelled to prevent my reputation from being tarnished by putting ‘Rienzi’ back on the boards in short order,” Wagner said in “My Life.” “And now I had to ponder the success of this opera, as well as the failure of the other.”“Holländer,” as we know, won out. Yet Wagner’s achievements are now accepted wholesale, so there isn’t a need to categorize any of his operas as successes or failures — except, perhaps, for “Die Feen.” The doors of Bayreuth have long been shut to the early, worthy works of its founder. It’s time to open them up. More

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      Review: Before Riccardo Muti Leaves Chicago, a Verdi Farewell

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      “Un Ballo in Maschera” is the last in a series of Verdi operas led in concert by the Chicago Symphony’s music director, who departs after next season.CHICAGO — Mortality, the fragility of life, permeates Verdi’s “Un Ballo in Maschera” from its lonely first measures.As the opera opens, a crowd sings while a ruler sleeps. For those who love him, it is a state that should bring him rest and refreshment. For those who conspire against him, it is a premonition of his hoped-for death. That battle — between vitality and the grave — continues to the score’s crushing finale.It was particularly hard to avoid thinking of endings during the Chicago Symphony Orchestra’s sumptuous performance of “Ballo” here on Thursday evening. Riccardo Muti, the ensemble’s music director since 2010, will depart after next season. And after more than a decade dotted by acclaimed concert versions of his beloved Verdi in Chicago, this is his last opera with this superb orchestra. (Saturday and Tuesday bring two final chances to hear it.)More proof of life’s fragility: Covid-19 very nearly derailed the run.After missing performances here in April because of a positive test, Muti tested positive again last Thursday, leaving that weekend’s concerts to another conductor and putting “Ballo” — which requires more rehearsals than a normal subscription program — in serious jeopardy.But on Thursday, there was Muti, who turns 81 next month. While the bags under his eyes looked heavier than usual, even from a seat in the balcony, he was still stomping on the podium and vigorously pumping his arms downward to draw out the weightiest marcato emphases. He was still crouching nearly to the floor when he wanted the volume softer, and reaching toward the ceiling to summon thunderous climaxes.Muti brings a gleaming, even fearsome clarity to Verdi’s operas.Todd Rosenberg/Chicago Symphony OrchestraVerdi is his life’s work. Few who chat with him for more than a minute or two avoid a passionate lecture about how this composer’s scores remain underrated for their sophistication: messily conducted, vulgarly sung and damnably staged.This positions Muti conveniently in the role of savior: finally wiping the grime from long-dirty windows. Whatever he may think, he is not the only conductor who tries to do Verdi justice, but there is no question that he brings to these operas a gleaming, even fearsome clarity.And stretching back to his performances of the Requiem as the Chicago Symphony’s music director designate in 2009, Verdi has provided a series of exclamation points on his tenure here. Never have I attended an opera performance as breathtakingly focused and ferocious as their “Otello” in 2011. “Macbeth” (2013) was a grimly propulsive march, and “Falstaff” (2016) a witty wonder, a smile in the shape of a symphony orchestra. Only “Aida,” in 2019, struck me as excessively controlled and arid.A tense tale of disguises and deceptions, “Ballo” is by far the strangest of this collection, a product of Verdi’s middle-period experimentations in emotional ambiguity and sometimes jarring juxtapositions of tone. (It premiered in 1859, after “Les Vêpres Siciliennes” and “Simon Boccanegra,” and before “La Forza del Destino.”)The opera is an eerie combination of melodrama and lighthearted, operettalike moments, with a homoerotic whisper over its central love triangle: Renato kills his best friend, Riccardo, because Riccardo is in love with Renato’s wife, Amelia, but it can be hard to tell which one of them arouses Renato’s jealousy more.The quality of the singers, in some of opera’s most fiendishly difficult roles, has varied in the Verdi pieces Muti has led here. But the work of his orchestra has been consistently agile and virtuosic, an ideal vehicle for his goal of bringing out rarely heard details without stinting overall blend and drive.So in this grand but tight “Ballo,” you heard — as you usually don’t — the slight, sour instrumental harmonies under the conspirators’ bitter laughter. Later, as those assassins plotted, their crime was sternly echoed in the resonance and unanimity of the evocative combination of harp and plucked double basses.Meli, left, as Riccardo, with Yulia Matochkina as Ulrica.Todd Rosenberg/Chicago Symphony OrchestraAs Amelia admitted her love to Riccardo, the strings trembled with a softness as palpable as it was audible; those strings had earlier roared with sinewy bristle when Riccardo asked a fortune teller who his killer would be. The prelude to the second act mingled lyrical expansion, somber brasses and a strangled stutter in the cellos; the Chicago winds these days combine artfully, their variety of textures united by their shared phrasing.Especially memorable on Thursday were the understated eloquence of John Sharp’s cello solo during Amelia’s aria “Morrò, ma prima in grazia,” and the spine — sometimes strong, sometimes shadowy — provided by the timpanist David Herbert. “Ballo” is full of simmering quiet, from which the full orchestra was able, time and again, to suddenly explode with savage, Mutian precision.The Chicago Symphony Chorus — prepared by Donald Palumbo, here for a stint after the end of the season at the Metropolitan Opera, where he is the chorus master — sounded richly massed, and sometimes terrifyingly robust, but not turgid. Even forceful phrases did not cut off abruptly; consonants and vowels alike felt rounded and full.Best among the featured singers were the mezzo-soprano Yulia Matochkina, commanding as the soothsayer Ulrica, and the soprano Damiana Mizzi, sprightly but silky as the page Oscar, a rare Verdian trouser role. The baritone Luca Salsi was an articulate, occasionally gruff Renato. The tenor Francesco Meli — like Salsi, a Muti favorite — was brash and ringing as Riccardo; his generosity faltered only occasionally at the very top of his range.When the accompaniment was spare and the vocal line floating, the soprano Joyce El-Khoury sang Amelia with soft-grained delicacy, though her tone narrowed as more pressure was placed on it. With her sound brooding, she effectively projected her character’s pitifully unmitigated sorrow. But she and Meli were pressed to their limits by the ecstatic end of their Act II duet.Singing the main conspirators were two talented bass-baritones: Kevin Short and (especially solid) Alfred Walker. The baritone Ricardo José Rivera; the clear, forthright tenor Lunga Eric Hallam; and the sweet-sounding tenor Aaron Short showed the care with which the orchestra cast even tiny roles.But the star of the show was never in doubt. This was not Muti’s final performance in Chicago, not by a long shot. There was nevertheless special poignancy near the end, hearing — from the voice of a character named Riccardo, no less — a dying farewell to “beloved America.”Un Ballo in MascheraRepeats Saturday and Tuesday at Symphony Center, Chicago; cso.org. More

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      Opera’s Lack of Diversity Extends to Offstage, a Study Shows

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      Opera America’s study found a striking dearth of minorities in the administrative ranks of opera companies.Opera has long grappled with a lack of racial diversity. Black, Latino and Asian singers have struggled to be cast in principal roles. Works by composers of color have rarely been performed.And, according to a study released on Thursday, there is also a striking dearth of minorities behind the scenes, in the ranks of opera administration.The study, by Opera America, a service organization for opera companies, found that only about a fifth of employees and board members at opera companies in the United States and Canada identify as people of color, compared with 39 percent of the general population.The findings underscore the challenges many companies face as they work to attract new and more diverse audiences, challenges that gained fresh urgency after the police killing of George Floyd in 2020, which brought renewed attention to questions about representation in the arts.“It shows there is a great deal of work to do for opera companies to more consistently reflect our nation and their communities,” Marc A. Scorca, the president and chief executive of Opera America, said in an interview. “For opera to truly be the connected, contemporary cultural expression that we want it to be, we have to reflect this country.”The study showed some signs of progress: Women now hold 61 percent of positions in administration in opera, and they account for 54 percent of leadership posts.And opera companies have taken steps in recent years to bring more racial diversity to the stage.The Metropolitan Opera, the nation’s largest performing arts organization, last year staged Terence Blanchard’s “Fire Shut Up in My Bones,” the first opera by a Black composer in its history. The Houston Grand Opera last year premiered “The Snowy Day,” based on the 1962 book, one of the first mainstream children’s books to feature a Black protagonist.Wayne S. Brown, a chair of the Opera America board and the president and chief executive of the Detroit Opera, which this year staged Anthony Davis’s “X: The Life and Times of Malcolm X,” said it was important that companies worked to attract people of different backgrounds to administrative posts, through mentoring programs and other efforts.“It’s a time of awakening,” he said in an interview. “We have to ask ourselves, ‘Are we reflecting who we are? Is this the image that we choose to project?’ ”The study, based on surveys of about 1,200 administrative staff members and 1,500 trustees at 97 different companies, is one of the first of its kind in the industry. More

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      The Netrebko Question

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      MONTE CARLO — Anna Netrebko, the superstar Russian soprano, stood on the steps of the ornate Casino de Monte-Carlo, taking photos with friends and watching Aston Martins and Ferraris zoom through the night.“It feels quiet and peaceful here,” she said in a brief interview outside the casino shortly before midnight. “And everybody loves each other, which is very rare.”It was late April, and Netrebko had just finished a performance of Puccini’s “Manon Lescaut” at Opéra de Monte-Carlo. It was not how she had planned to spend the evening: She was supposed to be nearly 4,000 miles away, at the Metropolitan Opera in New York, headlining in another Puccini opera, “Turandot.”After Russia invaded Ukraine, Netrebko announced that she opposed the war but declined to criticize President Vladimir V. Putin, whom she has long supported. Almost overnight she was transformed from one of classical music’s most popular and bankable stars into something of a pariah. Appearances at Teatro alla Scala in Milan, the Zurich Opera and the Elbphilharmonie in Hamburg, Germany, were called off. The Met Opera, where she has been the reigning prima donna for years, canceled her contracts for two seasons and warned that she might never return.The Monte Carlo engagement, her first in more than two months, was the start of an effort to rebuild her imperiled career. It was perhaps an unusual setting to stage a comeback: Its 517-seat jewel box of an opera house is attached to the famous casino, with slot machines near the lobby. Netrebko, whose seasons are usually booked years in advance, was invited at the last minute, when a singer contracted the coronavirus and efforts to bring in two other replacements were unsuccessful.But Netrebko was warmly received, winning ovations and shouts of “Brava!” at her final performance. (That same night in New York, Liudmyla Monastyrska, the Ukrainian soprano who replaced her at the Met, was cheered when she wrapped herself in a Ukrainian flag for her curtain calls.)After the performance, as Netrebko walked back to the Hôtel de Paris Monte-Carlo with her husband, the tenor Yusif Eyvazov, who had starred with her in “Manon Lescaut,” she said she felt a reprieve from the scrutiny of critics in the United States and Europe, as well as in Russia, where she had recently come under fire for speaking out against the war.“They shoot you from both sides,” she said, forming her hand into the shape of a gun.Anna Netrebko and her husband, Yusif Eyvazov, performing “Manon Lescaut” in Monte Carlo, part of an effort to rebuild her career.Alain Hanel – OMCClassical music’s answer to BeyoncéAfter the invasion of Ukraine, cultural institutions in the United States and Europe denounced Moscow. And they were confronted with difficult decisions about how to deal with Russian artists.Many cut ties with close associates of Putin — especially the conductor Valery Gergiev, a longtime friend and prominent supporter of the Russian president. Gergiev, who leads the Mariinsky Theater in St. Petersburg, where he nurtured Netrebko’s career, has conducted concerts over the years that were freighted with political meaning, including one in a breakaway region of Georgia and another in Palmyra, after it was retaken by Syrian and Russian forces.Other Western institutions, though, were criticized for overreach after they canceled performances by Russian artists who were not closely identified with politics, and even with some who had spoken out against the invasion.Now many cultural organizations face an uncomfortable question: What to do about Netrebko?Her ties to Putin are not as deep as Gergiev’s, but they are substantial, according to a New York Times review of news reports in Russian and English and public records.Her name appeared on a list endorsing Putin’s election in 2012, and she has spoken glowingly of him over the years, describing him as “a very attractive man” and praising his “strong, male energy.” In 2017, in the run-up to Putin’s re-election, she told a Russian state news agency that it was “impossible to think of a better president for Russia.” She has also occasionally lent support to his policies; she once circulated a statement by Putin on Instagram alongside flexed biceps emojis. In 2014, she donated to an opera house in Donetsk, a war-torn city in Ukraine controlled by Russian separatists, and was photographed holding a separatist flag.Putin, in turn, has showered Netrebko with praise and awards over the years. She was invited to sing at the 2014 Sochi Winter Olympics and other state celebrations. Last September, on her 50th birthday, he sent a telegram calling her the pride of Russia, and describing her as an “open, charming and friendly person, with an uplifting personality and a clear-cut civic stance.” At a concert celebrating her birthday at the State Kremlin Palace, the president’s press secretary, Dmitry Peskov, read Putin’s message from the stage.Before the invasion, Netrebko was at the height of her career. With a larger-than-life personality and a taste for extravagance, she built a loyal fan base and was sometimes called classical music’s answer to Beyoncé.Now she hopes to persuade the cultural world to look beyond her ties to Putin. She has hired a crisis communications firm, lobbied opera houses and concert halls for engagements and filed a labor grievance against the Met.Netrebko with Putin when he awarded her the title of People’s Artist of Russia in 2008 at the Mariinsky Theater in St. Petersburg.Dmitry Lovetsky/Associated PressPeter Gelb, the Met’s general manager, said it would be “immoral” to engage her during the war. The Met has worked to rally support for Ukraine, hosting a benefit concert and helping form an orchestra of Ukrainians, to be led by Gelb’s wife, the Canadian Ukrainian conductor Keri-Lynn Wilson. The company recently cut ties with another Russian singer, Hibla Gerzmava, who had also spoken in support of Putin.“She is inextricably associated with Putin,” Gelb said of Netrebko. “She has ideologically and in action demonstrated that over a period of years. I don’t see any way that we could possibly do a back flip.”Netrebko has declined repeated requests for an interview from The New York Times over the past several months.Elsewhere, Netrebko’s comeback is gaining momentum. Several European institutions that had sought distance from her have recently announced plans to engage her, some as soon as next year. In late May, she sang recitals before enthusiastic crowds in Paris and Milan, where her concert at Teatro alla Scala sold out. Italian news outlets declared it a “triumph,” writing, “Anna Netrebko retakes La Scala: flowers and applause after her break for the war.”In other theaters, she has faced boycotts, protests and persistent questions about her ties to Putin.At a concert at the Philharmonie de Paris last month, about 50 Ukrainian activists staged a die-in outside the theater. They played a soundtrack that mixed the music of Tchaikovsky with gunshots and sirens meant to evoke the war. A woman dressed as Netrebko, with fake bloodstains on her dress, danced as the protesters lie still on the ground.‘I’m still a Russian citizen’Netrebko was in Moscow with her husband, her frequent artistic collaborator, when the invasion began, on Feb. 24. The night before, the two had performed in Barvikha, a town of villas and luxury boutiques near Moscow, singing works by Verdi and Puccini before an audience of wealthy Russians. Tickets for the concert, sponsored by the Swiss jeweler Chopard, for which Netrebko serves as a brand ambassador, sold for as much as $2,000 apiece.The trouble for Netrebko started almost immediately. When she and her husband arrived for a concert in Denmark scheduled for the day after the invasion, she was forced to cancel amid an outcry from local politicians.In the days that followed she came under pressure to forcefully denounce the invasion. A diva for the digital age, with more than 700,000 followers on Instagram, she preferred to speak directly to her fans in English and Russian on social media.On Feb. 26, she posted a statement opposing the war. But she also seemed to resent the scrutiny, adding, “Forcing artists, or any public figure, to voice their political opinions in public and to denounce their homeland is not right.” In another post, alongside heart and praying hands emojis, she shared a text that used an expletive to refer to her Western critics, saying they were “as evil as blind aggressors.”As her cancellations mounted, her behavior grew more unpredictable. In early March she sent a photo on WhatsApp to a senior executive at Deutsche Grammophon, her longtime label, who had been trying to reach her, according to a person briefed on the photo, who was granted anonymity to discuss private interactions. The photo showed what appeared to be Netrebko’s hand holding a bottle of tequila up to a television with Putin on the screen, the person said. Her decision to send the photo frustrated friends and advisers, who saw it as unprofessional and worried it could further damage her career, the person said. Netrebko’s representatives declined to comment on the photo.Netrebko has a history of courting controversy. When the Met tried to stop her from using makeup to darken her skin during a production of “Aida” in 2018, concerned that the practice recalled blackface, she went to a tanning salon instead. The next year, appearing with dark makeup in a production of “Aida” at the Mariinsky, she wrote on Instagram, “Black Face and Black Body for Ethiopian princess, for Verdi greatest opera! YES!”As the war intensified, the Met’s general manager, Gelb, called Netrebko’s representatives and asked her to denounce Putin. Netrebko demurred, and during their last conversation, Netrebko told Gelb she had to stand with her country, Gelb said. Gelb, who had made Netrebko a cornerstone of his efforts to rejuvenate the company, canceled her contracts and said she might never return to the Met.Netrebko, a citizen of Russia and Austria who lives in Vienna, has since made it clear that she would not criticize Putin. “No one in Russia can,” she said in an interview with Die Zeit, a German newspaper, published this month. “Putin is still the president of Russia. I’m still a Russian citizen, so you can’t do something like that. Do you understand? So I declined to make such a statement.”“Anna Netrebko retakes La Scala,” one Italian news outlet wrote after Netrebko performed a sold-out recital there in May.Brescia and Amisano, via Teatro alla Scala‘I am guilty of nothing!’Netrebko and Putin have crossed paths for decades, sharing a friendship with Gergiev, whom Netrebko has called her “godfather in music.” It was at the Mariinsky, run by Gergiev, that Netrebko made her career, rising from a promising vocal student who washed the theater’s floors as a part-time job to become one of the company’s biggest stars.From his perch in the royal box at the Mariinsky, Putin often saw Netrebko perform, going back to at least 2000, when she was 28 and starred as Natasha Rostova in Prokofiev’s “War and Peace,” according to the Russian newspaper Kommersant. Netrebko was the “undisputed star of the performance,” the newspaper wrote.Netrebko became one of Russia’s most famous cultural ambassadors, and in 2008 Putin awarded her the title of People’s Artist, the country’s highest honor for performers, at a ceremony in St. Petersburg that also featured Gergiev.Netrebko, in turn, seemed to embrace Putin’s brand of nationalism. She has been photographed wearing the black-and-orange St. George ribbon, a symbol of the Russian military that has become popular among Putin supporters, and a T-shirt celebrating a victory in World War II.“I am always unambiguously for Russia and I perceive attacks on my country extremely negatively,” she said in a 2009 interview with a Russian state-owned newspaper, in which she denounced foreign news coverage of the war in Georgia.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 6Gavriel Heine. More

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      Review: The Met Opera Orchestra Raises a Glorious Noise

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      The orchestra’s power in theatrical music was on display in two concerts at Carnegie Hall led by Yannick Nézet-Séguin.Over two nights at Carnegie Hall, Yannick Nézet-Séguin led the Metropolitan Opera Orchestra in an awesome display of its might. After an eventful season, in which concerns beyond music sometimes pulled attention from the stage, these back-to-back concerts were a reminder of the orchestra’s pre-eminence in theatrical material.Each concert paired excerpts from an opera with a programmatic piece, an inherently dramatic form that depicts a story or a character using instrumental forces. The performance on Wednesday matched Richard Strauss’s “Don Juan” with Act I of Wagner’s “Die Walküre,” and Thursday’s all-Berlioz program placed arias and an interlude from “Les Troyens” alongside “Symphonie Fantastique,” a groundbreaking work that sounds more like a music drama than a symphony.Opening with “Don Juan” felt like a statement of purpose. Here were world-class musicians tackling a bravura symphonic poem that established the modernist bona fides of the 25-year-old Strauss. The orchestra flaunted the depth and breadth of its tone in the opening motif, an upwardly swinging phrase dripping with swagger. The horns covered themselves in glory, and the concertmaster David Chan and the oboist Nathan Hughes contributed shapely solos. At one point, the ensemble’s sound grew so frenzied it turned strident. At the end, the crowd roared.The opera had come to the concert hall, and it was going to raise a glorious noise.This was Nézet-Séguin the extrovert, who deploys the orchestra in the opera house like an instrument of fate, keeping the baseline volume at mezzo forte. The orchestra comes across as an external force that acts on the characters rather than one that sympathetically expresses their innermost feelings. The best opera conductors, though, know when a scenario calls for one or the other.In that light, the ending of “Don Juan” revealed a weakness: Nézet-Séguin is more effective at big moments than small ones. Strauss gives his swashbuckling Don Juan a poetic, even philosophical, demise, but with Nézet-Séguin, he just sort of dropped dead.You could hear Nézet-Séguin working out the dynamic emphases in real time at Carnegie. Wagner built the twilight setting of Act I of “Die Walküre” out of mellow, amber-colored instruments — cellos, bassoons, clarinets, horns. Nézet-Séguin, though, focused less on mood and more on intoxicating, surging romance. It certainly sounded as if Siegmund and Sieglinde’s fateful union was blessed by their father, Wotan, king of gods: Nézet-Séguin summoned divine — that is, awesome — playing from the musicians.Christine Goerke (Sieglinde) and Brandon Jovanovich (Siegmund), both Wagner veterans, are not singers to be blown off a stage. Goerke, who has sung Brünnhilde, easily navigated Sieglinde’s music with her dramatic soprano, cresting the climaxes instead of getting washed-out by them.Jovanovich had the more grueling part. The writing for Siegmund constantly pushes a tenor into a muscle-y sound at the top of the staff, and Jovanovich’s bottom notes paid the price, taking on a gravelly gurgle. The middle and top of his voice remained virile, handsome and taut, and his narration cycled through a remarkable series of emotions — vulnerable, proud, sweet, disdainful, morally upright — before finding transcendence.Eric Owens, glued to his score, couldn’t suppress the nobility of his bass-baritone as the brutish Hunding; instead he channeled the character’s villainy with an obdurate, distrustful manner.After “Die Walküre,” Nézet-Séguin insisted that the cello section stand for applause — a touching acknowledgment of the leading role it played. He also teased audience members as they moved up the aisles to leave: “We do have an encore planned,” he said, stopping people in their tracks — “it’s called tomorrow night’s concert.”The mezzo-soprano Joyce DiDonato performed excerpts from Berlioz’s “Les Troyens” on Thursday.Evan Zimmerman/Met OperaAt the start of the next evening, the strings’ quicksilver quality in Berlioz’s “Le Corsaire” Overture indicated a very different concert was in store.Nézet-Séguin took pains to quiet the orchestra for Joyce DiDonato’s two arias from Berlioz’s “Les Troyens.” DiDonato’s mezzo-soprano is not the typical one for the role of Dido — full, rich, expansive — but she defied expectations, sharpening her light, glittery timbre into a blade for the scena that culminates in “Adieu, fière cité.” Rattled and debased after Aeneas abandons her, Dido fantasizes about murdering the Trojans, but eventually, she accepts her fate, recalling sensuous memories of her time with the questing hero. DiDonato cast a spell, ending the aria on a thread of sound, her Dido a shell of her former self — but what an exquisite shell it was.There was fun, too: Nézet-Séguin bounced joyfully to the rollicking bits of “Le Corsaire” and dug deep into the twisted, macabre finale of “Symphonie Fantastique,” with its cackling ghouls and sulfurous air.After raising hell, Nézet-Séguin pivoted again, welcoming DiDonato back to the stage for an encore, Strauss’s “Morgen.” As he calmed the orchestra to a whisper, DiDonato and the concertmaster Benjamin Bowman intertwined their silvery sounds. This time, Nézet-Séguin got the balance just right. More

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      After 10 Years, Barrie Kosky Leaves His Opera House Dancing

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      To say goodbye to a transformative tenure at the Komische Oper in Berlin, this director staged an “All-Singing, All-Dancing Yiddish Revue.”BERLIN — It’s difficult to pinpoint the most outrageous moment of “Barrie Kosky’s All-Singing, All-Dancing Yiddish Revue,” which opened at the Komische Oper here on Friday. Is it the 1960s-era pilot and flight attendant in drag belting “My Way” (sorry, “Mayn Veg”) under a shower of golden confetti? The subtle camp of an imaginary Choir of Temple Beth Emmanuel singing with straight-faced sincerity? The “message from our sponsors” advertising “delectably light, always right, gefilte fish in jars”?But maybe the evening is less about those moments than about Kosky himself: the Australian-born director who has become an essential figure of the Berlin, not to mention European, opera scene, an erstwhile foreigner who speaks in a fluid blend of German, English and Yiddish and has risen to being addressed on Friday by Claudia Roth, Germany’s culture commissioner, as “lieber,” or dear, Barrie.So much of the “Revue” embodies the ethos of the house he has built during the decade of his leadership, which comes to an end this summer. Queer, Jewish, entertaining and executed at a high level, the show is a quintessential production of the Komische Oper, the city’s most reliably interesting and revelatory opera company.Under Kosky — a showman through and through, who operates with a young idealist’s belief in the power of theater and a brazen disregard for divisions between so-called high and low art — the Komische Oper has been the kind of place where you could see Schoenberg’s “Moses und Aron” one night and Mozart the next, followed by a Broadway musical, a Weimar-era operetta and, for good measure, something Baroque.Thankfully, that spirit will survive once he leaves and the house is jointly led by Susanne Moser and Philip Bröking. And, as Kosky said during a curtain call speech on Friday, the “Revue” is “kein Abschied”: no farewell. At 55, and more comfortable working as a freelancer than taking on a new house, he will remain at the Komische in an advisory role and direct one musical each of the next five seasons. His first? Jerry Herman’s “La Cage aux Folles,” given a grand treatment and sharing the calendar, in typical fashion, with Luigi Nono’s avant-garde, borderline strident “Intolleranza 1960.”“That must be the only time in history that the words ‘Nono’ and ‘Jerry Herman’ are in the same sentence,” Kosky said in a recent interview. “It’s even the same orchestra and the same chorus. My God, I mean, that’s just sensational.”Compare this atmosphere with those of the city’s two other major houses: the respectable but relatively stuffy Deutsche Oper and the Berlin State Opera, a company hopelessly wed to a core repertory heavy on Strauss and Wagner. The Komische, fittingly, attracts a varied audience that Kosky — true to my experience over the years — described as “five leather queens” next to “two tattooed lesbians” next to “grandpa and grandmother” next to “four Japanese tourists.”Kosky at the Komische Oper, the company he has run for 10 years, and where he will remain in an advisory role after he steps down this summer.Andrew Testa for The New York TimesKosky’s crowning achievement may be the degree to which he has elevated and restored operetta — a genre “stopped dead in its tracks” by the Third Reich, he said, and “Aryanized” in post-World War II performance — on the Berlin stage. He has either directed or invited guests to mount productions of long-neglected works including Paul Abraham’s “Ball im Savoy,” Oscar Straus’s “Die Perlen der Cleopatra” and Jaromir Weinberger’s “Frühlingsstürme,” which is considered the last operetta of the Weimar Republic.“These pieces were a fundamental, important part of the landscape of Berlin culture before 1933,” he said. “And we’re not just talking about Jewish composers. We’re talking about Jewish librettists, we’re talking about Jewish choreographers, we’re talking about Jewish singers.”It can be tricky to stage an operetta convincingly and compellingly; Kosky and his team have performed some dramaturgical surgery as part of their rescue missions. But above all, he has avoided linking his productions with history. Absent are Nazi intrusions or attempts at “setting the thing in Buchenwald, which a German director might probably do,” he said.“You know, it doesn’t work if you’re going to batter people,” Kosky added. “I feel the audiences have been enabled in the last 10 years to sit here and enjoy it without guilt. What I’ve tried to tell the German audiences, and the Berlin audiences, is, listen: The best way you can honor these people that your grandparents or parents killed or sent into exile is enjoy it.”So he has aimed for humor, charm and, of course, a little subversiveness. And operetta allows him to be “completely ludicrous,” as he said. “I can put in my Mel Brooks Barrie Kosky moments, and then I can be very heartbreakingly real the next moment, and it’s authentic to the pieces. I think most German directors don’t do that. They haven’t watched ‘The Muppet Show.’ I always say to people, if you want to understand my work, it’s basically a combination of the Muppets and Franz Kafka.”For now, Kosky plans to step away from operetta and make room for others: “I’ve opened the sweets shop, and I’ve said, ‘Look, guys, look at these delicious, fabulous things. And I’ve given you the keys. Take over the shop.’”Hence his future directing musicals, which after “La Cage” will include “Chicago” and “Sweeney Todd.” He is committed to opera projects throughout Europe in the coming years, but he would gladly take on Broadway as well. That, however, would entail getting a foothold where he has been woefully underrepresented. Productions by Kosky have traveled to Los Angeles and Houston; in September, his Komische “Fiddler on the Roof” will open at the Lyric Opera of Chicago. But aside from a co-directed, not-truly-his staging of “The Magic Flute” that appeared at the Mostly Mozart Festival in 2019, his work hasn’t found the audience it deserves in New York. (The Metropolitan Opera had planned to present his “Fiery Angel” in fall 2020, but it’s now in pandemic purgatory.)Dagmar Manzel, one of the house’s stars, in a sober turn from her comedic roles, such as the title character of “Die Perlen der Cleopatra.”Monika RittershausFirst, though, Kosky needs to finish the run, through July 10, of the “Revue,” an original creation he arrived at after not wanting his final production to be something expected, like an operetta, and after the pandemic upended his plans for a Stravinsky marathon. Few directors would, or could, dream up the result: a tribute to the Yiddish entertainment common at resorts in the Catskill Mountains during the mid-20th century.“The list of performers who were there — it’s like a who’s who of American culture, all going to this Jewish utopian, sort of summer kibbutz,” Kosky said, mentioning the likes of Joan Rivers, Danny Kaye and Brooks. “I mean, what was the Catskills if not a kibbutz without politics?”Paced like a playlist — with the accompanying ups, downs and, at times, lulls — the show features popular music arranged and conducted by Adam Benzwi (called Adam Benski from the stage) and follies-like choreography, with an eye for physical comedy, by Otto Pichler. Company members and guest stars appear in different guises, none more surprising than Dagmar Manzel in a rendingly sober turn from her riotous Cleopatra earlier last week.Throughout, Kosky — who also hosts the show through prerecorded introductions — is committed to the bit in a delicate balance of irony and camp. Both men and women sing in drag; borscht belt humor (“below the girdle”) abounds; and the performers assume personas on a Marvel Cinematic Universe scale. There’s the “mezzo from Minsk” Sylvie Sonitzki, a boy band of orthodox Jews, and don’t forget the temple choir. In an ending out of something like Verdi’s “Falstaff,” Kosky brings out everyone, an enormous ensemble backed by an enormous orchestra, for a spectacle that, joyous and celebratory, sends off the audience with a command: “Dance!”Kosky couldn’t have said goodbye any other way. More

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      At the Met This Season, Opera Was Icing on the Cake

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      Amid a labor battle, the continuing pandemic and war in Ukraine, it often felt as though the real drama was in simply putting on a show.Has there ever been a Metropolitan Opera season like the one that just ended? In which the stuff onstage — the homicidal brides, mystical pharaohs and longing stepsons — felt so anticlimactic? Over the past eight months, amid a labor battle, a pandemic that surged again and again, and a war, it was as if the real drama was in simply getting the doors open. Once that was achieved, what followed was almost beside the point.Or, to put it more accurately, what followed was like icing on the cake. Rarely has it felt so sweet to be inside the gilded Met, has opera seemed — whatever you thought of a given work, singer or production — so much a gift. A groundswell of gratitude was palpable throughout the season, which finished on Saturday evening with Verdi’s “Rigoletto.”You felt it in the explosive ovation that greeted a virtuosic step-dance sequence in Terence Blanchard’s “Fire Shut Up in My Bones,” which opened the season as a double milestone: the first production since the pandemic lockdown in March 2020, and the first work at the Met by a Black composer since its founding in 1883.You felt it in the cheers for Lise Davidsen’s vast, star-making Ariadne; Nadine Sierra’s sensual Lucia di Lammermoor; Matthew Polenzani’s earnestly agonized Don Carlos; Allan Clayton’s quivering Hamlet; and the chorus’s shimmering “Prayer for Ukraine” at a benefit concert in March.The soprano Lise Davidsen in the title role of Strauss’s “Ariadne auf Naxos.”Marty Sohl/Met OperaYou felt it in the roaring curtain calls at the revival of “Akhnaten,” which proved once again that Philip Glass’s idiom has been welcomed by the Met audience as wholeheartedly as those of Mozart or Puccini.Around this time a year ago, it seemed like the great battle would be returning after a canceled 2020-21 season. Bad blood was in the air: The Met’s unions were furious at the company’s general manager, Peter Gelb, for his insistence that unpaid furloughs were the only way it could survive the long lockdown. The situation grew so bitter that it seemed possible a strike or lockout would keep the Met closed past the planned opening night.But the promise of coming back after 18 months proved too strong to resist, and the unions and management came — warily — to terms. No one who was at the outdoor performances of Mahler’s “Resurrection” Symphony over Labor Day weekend, or, especially, at the return indoors for Verdi’s Requiem on the 20th anniversary of the Sept. 11 attacks, will forget the relief and joy of the Met once again making live music at Lincoln Center.The Met returned to indoor performance with a concert of Verdi’s Requiem for the 20th anniversary of the Sept. 11 attacks.Richard Termine/Met OperaThe opening months of the season had an air of triumph. There was the sold-out success of “Fire Shut Up in My Bones”; a series of ambitious revivals, including the Met’s first performances of the brooding original version of Mussorgsky’s “Boris Godunov” and Wagner’s six-hour “Die Meistersinger von Nürnberg,” the longest opera in its repertory; and Matthew Aucoin’s recent “Eurydice,” in which a sprawling orchestra thrashed Sarah Ruhl’s winsome version of the Orpheus myth.Then the rise of the Omicron variant in late fall began to claim performances, festivals and concerts. The Vienna State Opera was closed for almost a week. But the Met buckled down, strengthening its already stringent health protocols and dipping into a broad pool of covers to fill in for sick artists. With luck on its side, it stayed open through the winter — and into yet another rise in cases this spring.Broadway shows kept canceling at the last minute or closing entirely, but the Met, America’s largest performing arts institution, never did. That will be Gelb’s legacy from this troubled period, along with the landmark “Fire” and the unrelenting position he took after the invasion of Ukraine, when he declared that the Met would sever ties with artists who supported President Vladimir V. Putin of Russia. That ultimatum had one singer in mind: the Russian soprano Anna Netrebko, the company’s leading diva, who criticized the war but remained silent about Putin. In a coup, Gelb replaced her as Puccini’s Turandot with the Ukrainian soprano Liudmyla Monastyrska, who drove the audience wild when she wrapped herself in a Ukrainian flag to take her bow.The Ukrainian soprano Liudmyla Monastyrska wrapped herself in her country’s flag to take her bow after “Turandot.”Lila Barth for The New York TimesGelb’s Netrebko decision wasn’t universally praised, and other major opera houses now seem to be inclined to welcome her back, classifying her as merely a prominent Russian, not a hardcore Putinist. But within the Met, the moral clarity of the war proved a unifying force: At the benefit concert for Ukraine, some players in the orchestra even applauded Gelb, their nemesis during the grueling furlough, as he declared from the stage that they were “soldiers of music.”Somewhere in the midst of politics and the virus was opera. Under the focused baton of Sebastian Weigle, “Boris Godunov” was memorably grim in the concentrated form Mussorgsky gave it before a hodgepodge of revisions; “Meistersinger,” expansive enough that it really does seem to convey a whole world, was relaxed and sunny, and gently comic as led by Antonio Pappano.Simon Stone’s technically savvy staging of Donizetti’s “Lucia,” set amid the malaise of a contemporary postindustrial American town, didn’t translate its bold concept into a convincing portrayal of its pathetically suffering title character. The Met’s de facto house director these days, David McVicar, offered a grayly old-fashioned production of Verdi’s “Don Carlos.”Simon Stone’s new staging of “Lucia di Lammermoor” had a bold concept but little grasp of its title character.Sara Krulwich/The New York TimesDavidsen, in Strauss’s “Ariadne auf Naxos,” a mythic creation of flooding tone, also lavished her soaring soprano on Eva in “Meistersinger” and Chrysothemis in Strauss’s “Elektra,” her voice almost palpable against your skin. The mezzo-soprano Isabel Leonard brought silvery elegance to Cherubino in Mozart’s “Le Nozze di Figaro” and the Composer in “Ariadne.”There were sympathetic soprano star turns from Ailyn Pérez as a fiery soloist in the Sept. 11 Requiem and a girlish Tatiana in “Eugene Onegin,” Eleonora Buratto as a reserved Madama Butterfly and Elena Stikhina as a kindly Tosca — as well as from Sonya Yoncheva, in a solo recital of shadowy sensitivity.While Blanchard’s score moved comfortably between bars, college parties and fraught, tender nocturnes, “Fire” was fairly turgid as drama, its individual sequences clear but the broader conflicts driving its characters obscure. (It was telling that the most dazzling sequences in this opera were Camille A. Brown’s dances.)Perhaps most remarkable about the offerings this season were the three — count ’em — works from the past five years: “Fire,” “Eurydice” and Brett Dean’s “Hamlet,” which set to seething music Matthew Jocelyn’s moodily distilled version of Shakespeare. The Met has not had so many recent operas on a single year’s lineup since the early 1930s, even if that number is notable only in the context of the stubbornly backward-looking world of opera.Not long ago, the idea of three contemporary operas in a Met season would have been preposterous. This was largely because the company’s longtime music director, James Levine — while he expanded the repertory significantly and presided over a handful of premieres — didn’t prioritize newer work.Among the Met’s contemporary offerings this season was “Hamlet,” featuring, from left at front, Allan Clayton in the title role and Brenda Rae as Ophelia.Sara Krulwich/The New York TimesBut his successor, Yannick Nézet-Séguin, agrees with Gelb that contemporary operas are crucial, both artistically and for expanding the company’s audience. And Nézet-Séguin is putting his money where his mouth is: He conducted both “Fire” and “Eurydice,” and leads Kevin Puts’s “The Hours” in the fall and Blanchard’s “Champion” next spring. (The early months of this season, though, were an exhausting workload when coupled with his duties as music director of the Philadelphia Orchestra: He dropped out of a run of “Le Nozze di Figaro” to take a four-week sabbatical around the new year.)The continuing transition out of the Levine era has been obvious not just in the repertory, but also in the orchestra’s sound — which was noticeably lighter and lither in three works closely associated with Levine: “Meistersinger”; Stravinsky’s “The Rake’s Progress,” led by Susanna Mälkki; and “Don Carlos,” which Nézet-Séguin brought to the Met for the first time in its original French.This change is for better and worse. The ensemble played these pieces with brisker transparency and perhaps more varied colors; Nézet-Séguin’s textures in “Don Carlos,” airier than Levine’s, felt of a piece with the elegant nasality of French. In “Hamlet,” conducted by Nicholas Carter, the orchestra was ferocious. But a certain grandeur is now missing, more often than not: the weight of Levine’s “Meistersinger” prelude, for one thing, and the gleefully straight-faced bombast of Baba the Turk’s entrance in his performances of “The Rake’s Progress.”Even a frequent operagoer or critic can’t see everything or everyone. I missed a new, family-friendly abridgment of Massenet’s fairy-dust “Cendrillon.” And after opening a new production of Verdi’s “Rigoletto” on New Year’s Eve, the baritone Quinn Kelsey — acclaimed in the title role — came down with Covid-19 and missed a few performances, including the one I attended. But I got to see his credible replacement: the baritone Michael Chioldi, finally getting his first big role at the Met after years as a stalwart of the New York opera scene.That was one of four performances at the opera house that I watched in a single weekend in early January, during the first Omicron wave. Such a marathon was an extraordinary exclamation point on the Met’s achievement in merely keeping the lights on.It wasn’t enough to taste opera after a year-and-a-half fast. I wanted to gorge. More