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Donizetti’s heartwarming comedy stars some of today’s most celebrated bel canto singers as the spunky landowner and the hapless peasant in search of love. Radiant sopranos Golda Schultz and Aleksandra Kurzak alternate as Adina, trading barbs and embraces with tenors Javier Camarena and Xabier Anduaga, in his Met debut, as Nemorino. Italian maestro Michele Gamba also makes his company debut conducting Bartlett Sher’s madcap staging, which features baritones Davide Luciano and Joshua Hopkins as the swaggering Sgt. Belcore and baritone Ambrogio Maestri and bass-baritone Alex Esposito as the lovable huckster Dr. Dulcamara. World premiere: Teatro Cannobiana, Milan, 1832. L’Elisir d’Amore has been among the most consistently popular operatic comedies for almost two centuries. The story deftly combines comic archetypes with a degree of genuine character development rare in works of this type. Its ending is as much a foregone conclusion as it would be in a romantic comedy film today—the joy is in the journey, and Donizetti created one of his most instantly appealing scores for this ride.
The mighty walls and towering monuments of ancient Egypt once again fill the Met stage, as Verdi's great spectacle returns. Soprano Latonia Moore—hailed for her performances in Porgy and Bess and Fire Shut Up in My Bones—stars as the Ethiopian princess torn between love and country, sharing the role with rising soprano Michelle Bradley. Mezzo-sopranos Anita Rachvelishvili and Olesya Petrova alternate as Aida's implacable Egyptian counterpart Amneris, with tenors Brian Jagde and Marcelo Álvarez as the warrior Radamès, the object of both of their affections. Baritones George Gagnidze, Quinn Kelsey, and Luca Salsi portray Aida's father, Amonasro, and bass-baritone Christian Van Horn is the iron-fisted priest Ramfis. Maestro Paolo Carignani conducts.World premiere: Opera House, Cairo, 1871. This grandest of grand operas features an epic backdrop for what is in essence an intimate love story. Set in ancient Egypt and packed with magnificent choruses, complex ensembles, and elaborate ballets, Aida never loses sight of its three protagonists. Few operas have matched Aida in its exploration of the conflict of private emotion and public duty, and perhaps no other has remained to the present day so unanimously appreciated by audiences and critics alike.
Julia May Jonas's Your Own Personal Exegesis is at Lincoln Center Theater in fall 2022. Check back for information on Your Own Personal Exegesis tickets on New York Theatre Guide. Your Own Personal Exegesis is a play set in a liberal church, following a group of congregants and staff who experience religious and erotic awakenings in the building's rooms. Brian seeks power, Addie seeks transformation, Beatrice seeks attention, and the youth pastor Kat seeks a connection with Chris, a parishioner. This comedic play shows where eroticism and ecstasy, of the religious and bodily varieties, cross. LCT3, Lincoln Center Theater's program for emerging writers and new plays, presents the world premiere of Your Own Personal Exegesis off Broadway. The show is by Julia May Jonas, an author of books and plays whose other works include the novel Vladimir and the play Time and Motivation for Fitness. She also leads and creates work for her own theatre company, Nellie Tinder, including a five-play cycle titled All Long True American Stories that reframe classic plays about men. Directing Your Own Personal Exegesis in New York is Annie Tippe, the Lucille Lortel Award-winning director of Octet at Signature Theatre. Brian Cavanagh-Strong wrote original music for the show; he also composed music for Jonas's All Long True American Stories plays. Check back for information on Your Own Personal Exegesis tickets on New York Theatre Guide.