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The crowd scenes, in particular, had a somewhat listless, almost perfunctory air about them Baritone Thomas Hampson has long specialized in the title role, and he showed why, with his powerful, mellow voice The mirror then descends beneath the stage, carrying him along somewhat awkwardly, as snow inexplicably drifts down from the ceiling org â€â€?â€â€?â€â€? On the Net: http://www If the staging left something to be desired, the singing did not And her handling of the climactic scene was disappointing too, as the Don is dragged down to the underworld by the ghost of the Commendatore, Anna's father Met artistic director James Levine led an ebullient performance by the orchestra, and was as usual especially attentive to the singers so that the many ensembles came together crisply and cleanly metopera " Never simpering in her sorrow, she brought elegance to her difficult final aria, "Non mi dir His patter in the "Catalogue" aria, enumerating all the Don's conquests to a humiliated Donna Elvira, was letter perfect, and his clowning throughout was most adept For instance, in the famous seduction duet, "La ci darem la mano," instead of having Don Giovanni put the moves on the peasant girl, Zerlina, Keller had the title character sit still while Zerlina inches toward him, overcome by his magnetism In the next scene, the Don stares into the eyes of Donna Anna as if to kiss her New Cast Shines in Met's 'Don Giovanni' Mar 2, 4:56 PM EST It was out with the pillars and in with the brick walls as the Metropolitan Opera premiered its latest production of Mozart's "Don Giovanni," a subdued affair enlivened by an exceptionally talented cast Apart from these intimate moments, however, her direction was less effective The best thing about Keller's work at Monday's opening was some unusual interplay among the characters, an erotic charge and menace that's often lacking in this tale of the serial womanizer who remains defiant and unrepentant as his crimes are gradually exposed As the Don's manservant Leporello, bass Rene Pape, already much admired in somber Wagner roles, showed how light and flexible he can be both in his voice and on his feet She staged the action amid sliding brick walls designed by Michael Yeargan, for a slightly warmer and more intimate effect Hei-Kyung Hong made a delectable Zerlina, and her bumpkin fiance Masetto was well sung by bass Ildar Abdrazakov (husband of mezzo Olga Borodina, who is currently starring in a Met revival of Rossini's "L'Italiana in Algeri") The Commendatore appears in a giant mirror, and when Don Giovanni reaches out to touch his hand, his own hand becomes frozen to the image His pleasant light tenor seemed too thin for the vast house, and the strain showed several times As Anna, soprano Anja Harteros confirmed the strong impression she made at her debut last fall as the Countess in another Mozart opera, "The Marriage of Figaro If there was a weak link, it was tenor Gregory Turay as Anna's faithful lover, Don Ottavio Retiring a grandiose, 14-year-old Franco Zeffirelli version that was dominated by huge, columned sets, the Met brought in director Marthe Keller Anna, whose father has just been slain in a duel by a masked assailant, reels away in horror â€â€? not just because she has recognized her father's killer, but also because she finds him so attractive " Elvira can sometimes seem a thankless role, but not when sung by soprano Christine Goerke, who threw herself into the part with fearsome abandon that never sacrificed accuracy Her volume rose to Wagnerian dimensions at times, but she was also capable of subtle shadings Phillip Ens brought powerful low notes to the role of the Commendatore The crowd cheered " "It was the honor of my life," confessed Channing of her many Hirschfelds, just before bursting into a snippet from "Hello, Dolly!" because "he loved to hear it It also housed such musicals as "Candide," "Bye Bye Birdie," "Man of La Mancha" and "Into the Woods "Looking at a Hirschfeld drawing of yourself is the best thing for tired blood Broadway Names Theater After Hirschfeld Jun 25, 12:03 PM EST Broadway remembered Al Hirschfeld as the man who made the stage and its performers come alive in graceful pen-and-ink drawings â€â€? and then it named a theater after him 20 at age 99, began drawing theater performers in 1926 " Hirschfeld, who died Jan "People in a Hirschfeld drawing all shared the one quality of energetic joy in life that they all wished they had in reality," Miller said The participants in Monday's memorial service spanned generations â€â€? from 92-year-old Kitty Carlisle Hart to Channing and Barbara Cook to Audra McDonald and Matthew Broderick For nearly 70 years, much of his work appeared in The New York Times Her name always appeared in each of her father's drawings, hidden in the lines for readers to find He would have been 100 years old last Saturday After the speeches and songs, the audience walked out of the theater and filled the street as a ribbon was cut and a red cloth fell from the theater's marquee, revealing a self-portrait of the artist in white lights Beck, a vaudeville impresario, built the theater in 1924 on what once was considered no man's land, just west of Eighth Avenue on West 45th Street Yet despite its location, the Beck had its share of memorable plays including Eugene O'Neill's "The Iceman Cometh," Tennessee Williams' "The Rose Tattoo," Miller's "The Crucible" and an Edward Gorey-designed version of "Dracula," starring Frank Langella One of the more touching moments came when Victor Garber sang a song in praise of Nina, the name of Hirschfeld's daughter, who joined Garber on stage for a bow From Arthur Miller to Carol Channing to Whoopi Goldberg to Nathan Lane, they spoke and sang the praises of the show-biz caricaturist during a joyous ceremony Monday in which the Martin Beck Theatre, a venerable Broadway playhouse, was rechristened the Al Hirschfeld Theatre " The theater's current tenant is a revival of "La Mancha," starring Brian Stokes Mitchell |
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