sat 31/10/2020

Opera-house pecking order: Luisi goes for Met gold | reviews, news & interviews

Opera-house pecking order: Luisi goes for Met gold

Opera-house pecking order: Luisi goes for Met gold

Luisi: Ditching Covent Garden Egyptology for Met goldBarbara Luisi/CAMI

So it's official: the Metropolitan Opera is more "important" than Covent Garden - at least to the rather image-conscious Fabio Luisi, currently rated as one of the possible successors to New York's now-ailing supremo of the last 40 years, James Levine. He's ditching two performances of a musically resplendent Aida at the Royal Opera for Wagner at the Met.

So it's official: the Metropolitan Opera is more "important" than Covent Garden - at least to the rather image-conscious Fabio Luisi, currently rated as one of the possible successors to New York's now-ailing supremo of the last 40 years, James Levine. He's ditching two performances of a musically resplendent Aida at the Royal Opera for Wagner at the Met.

Share this article

Comments

Jumping out of running performances can only happen if the ROH agrees with it. Probably there were a previous agreement between Met and ROH. Luisi is well known for his seriousity, and the fact that he is still scheduled for the performance on april 6th seems to confirm that ROH is not angry about this. Besides, Luisi is principal guest at the Metropolitan, so he obviously feels loyalty for "his" house. Everyone should think twice and be well informed before making judgements.

Not so good informed: it is not Robert Carsen but Robert Lepage. And Fabio Luisi IS principal guest conductor at the Met, so don't blame him for being loyal to his opera house. Additionally I can remember very good when Pappano canceled in Bruxelles in order to conduct in London and in Vienna. It's not question of being image-conscious, but of helping a collegue who is very sick. BTW I saw the last performance of Aida at ROH and was impressed of his conducting, even with Alagna who, as everybody knows, doesn't take very seriously with tempo and rhythm.....

Whatever the reasons, the fact remains that Luisi was advertised and some folk may have bought their tickets in good faith.

Apologies, slip of the brain in the heat of the moment - Carsen corrected to Lepage. I understand that someone had to help out Levine, and maybe it was easier to fix Luisi's eventual replacement in this run to take over than to get someone else at the Met, but it is notable that this is happening with the so-called 'B' cast. Opera casting - which includes conducting - is a makeshift world, and I know there have to be compromises, but without the Opera House - which of course consented - giving further explanation, it doesn't look very professional to me.

Gergiev syndrome again? Of course it's not illegal, but it's the kind of globetrotting easy-come easy-go which a responsible artist shouldn't be indulging in

I was one of those fortunate enough to see Rustioni the other evening. Yes, he's young, but he is by no means part of the B team. Someone to watch, definitely, and none of the audience lost out, judging from the reception which he received. An altogether exiciting evening, gut the stars were definitely Latonia Moore and Daniele Rustioni.

Thanks for taking the time to give a verdict on Rustioni, Susan. I too had subsequently heard very strong commendations of his work, and look forward to hearing him (and, indeed, the much-praised Latonia Moore). On a not unconnected note, I heard the Royal Opera's highly respected Head of Music David Syrus taking over from Mark Elder in the Fidelio last night, and it sounded like a different piece - so much lighter in the earlier scenes, rhythmically very strong - and the show never, musically at any rate, dragged as it had on the difficult first night.

Add comment

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters