David McVicar’s production of Dvořák’s Rusalka opens with a prelude while the overture plays. We see the Foreign Princess and the Prince. She appears to be upbraiding him and he is drinking hard. Are we seeing a failed/forced marriage that in reality the Prince made rather than some preferred alternative? Is what we see over the next three and half hours some dream version of what might have been? In this most Freudian of operas, why not?
Cineplex’s The Met: Live in HD features Franco Zefferelli’s Tosca on January 27 and Bartlett Sher’s production of L’Elisir d’Amore on February 10th
My first thought was that I would rather be suspended upside down in a vat of ordure and flogged by drug crazed trolls and then I realised that unless I was somewhere in the the multiverse where the Met still had Robert Carsen’s Eugene Onegin this couldn’t be right. The body text clarified. It’s actually the, by now scarcely distinguishable from the Zeff, Caledonian knight Sir David MacVicar “Rivaling the splendor of Franco Zeffirelli’s Napoleonic-era sets and costumes”.