School for Lovers: Christopher Alden Delivers Another Gift at City Opera With Mozart’s Cosi Fan Tutte
The role of the “other” opera companies in New York is to serve as alternatives to the Metropolitan Opera. It’s that simple.
It has been this way since the turn of the 20th century, when Oscar Hammerstein’s upstart Manhattan Opera House countered the Met’s stagnant repertory with contemporary opera and the American premieres of works like Pelleas et Melisande, Elektra and Salome. New York City Opera, in its prime, offered a similar package: the operas, directors and young, attractive singers that the Met wouldn’t touch.
Fast-forward a few decades, and the situation has reversed. The Met is now its own alternative, with an established and growing commitment to contemporary work and a variety of directorial approaches on display. No longer, at least in theory, is it all Zeffirelli-style naturalism, all the time. Read More