Netflix’s Daredevil and the Met Opera’s Cav & Pag

Finished Daredevil just after breakfast yesterday, and spent the rest of the morning consuming the fandom that has sprung up around it, before going off to watch the Met Opera’s broadcast of Cavalleria Rusticana/I Pagliacci.  It was a very Catholic day.  Most of it was made pretty much by virtuoso performances.

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Next Season at the Met

Taking a look at the list of ten Met Opera performances being showed at the movies next season, I’m afraid I’m rather disappointed.   Anna Netrebko will likely be hopelessly miscast as Tatiana in Eugene Onegin, not only are to retransmitting multiple productions they’ve done already, but the shows getting shown again aren’t even their best, and to be honest I have limited interest in seeing a couple of the other operas; Cosi fan tutte  in particular I think I’ll care to skip.  Though it is amusing to have Robert Alagna doing one of the reruns again.  Perhaps their advertisement for seeing these productions is that they’ve got Alagna in them this time(except George Gagnidze did not make the best Scarpia, and now for some inexplicable reason they’ve failed to replace him).  One wonders why they didn’t get him for them the first time around, but never mind.  Similar is La Cenerentola with its all-star cast, except they have a newbie as Dandini, which is silly of them, since that’s the guy who’s supposed to steal the show, and without a reliable guy there DiDonato is not enough to lure one in, perhaps.

After the Verdi anniversary fest that was this year in opera(the Met wasn’t the only one participating), it seems next year they want to do Russian-themed operas, with three of them being so themed.  And being a skating fan, of course I’ll be interested in seeing Prince Igor, and Ildar Abdrazakov is more of a singer to look forward to than Netrebko, thankfully.  Though the real cast to look forward to is for this Massenet opera; since I’m skipping the Wagner tomorrow, it’ll be far too long since I’ve seen Jonas Kaufman, and I’ve seen Elina Garanca make bad opera good and good opera better, so whichever Werther happens to be that should be all right.  And for holdover Verdi, Falstaff should be interesting as well.