Gard: a beautiful palette of styles sung by the operas broadcast in New York

After very long months of closure caused by the pandemic, the Metropolitan Opera in New York, whose financial difficulties linked to this situation have taken a worrying tangent, is entering its new season with an optimistic program. Bold, because we note that among the ten titles offered to music lovers through broadcasts in cinemas around the world, three belong to the contemporary repertoire.

Created in 2019 in Saint-Louis, Fire Shut Up In My Bones, in its French translation), will be the first work of the calendar to belong to the 21st century. Written by Terence Blanchard, the only black composer to date to see the doors of the illustrious opera hall open, the work evokes the journey of a young man overcoming a life of trauma. Will follow Eurydice, new version of the myth and lyrical score by Matthew Aucoin, born in 1990, while a new Hamlet, opera by Australian Brett Dean, will be the last date, in June, of this orientation towards today’s works.

But the Metropolitan’s programming for cinemas will, of course, also make it possible to find well-known titles and prestigious artists. Thereby, Boris Godounov, this Saturday, will open the cycle, with René Pape at the head of distribution, Massenet and his Cinderella (in English for the end of the year), Rigoletto, Ariadne in Naxos, with the astonishing soprano Lise Davidsen, a Don Carlos in the original French version and directed by Quebecer Yannick Nézet-Séguin, who will be present on three occasions this season, Turandot awith star Anna Netrebko, and Lucia of Lammermoor by the Sierra-Camarena couple, promise the public, until spring, beautiful lyrical hours.