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.... .... I | MONDAY,OCTOBER 7, 2013 ADVERTISING SUPPLEMENT INTERNATIONAL HERALD TRIBUNE THE GLOBAL EDITION OF THE NEW YORK TIMES ADVERTISING SUPPLEMENT MONDAY,OCTOBER 7, 2013 | II Renée Fleming stars in ‘‘Rusalka,’’ oneof10 productions featured in METROPOLITAN OPERA the Met’s 2013-14 Live in HD season. CENTER ROLANDO VILLAZÓN CAPTURING ADARK, POETIC SOUL Rolando Villazón was discovered almost by accident, overheard by aMexico City neighbor as he sang in the shower. That dis- covery revealed what has proved to be one STAGE of the most remarkable voices in opera today, asmooth tenor with apassionate stage presence. Hiscareer was launched in 1999, when he won three prizes at Plácido Domingo’s Operalia competition. But his career was almost ended six years ago. Avocal crisis that started in 2007 PERA sidelined the singer for almost two years. O ‘‘I had acongenital cyst in the vocal PETER GELB cord,’’ hesays matter-of-factly. ‘‘It had to be POLITAN removed, and Iwas told by many doctors ‘A LIVING,BREATHING ART FORM’ that my career was over. Fortunately, Imet a ETRO doctor in Paris, and he said you would be D/M Says Peter Gelb, general manager of the The third Russian offering is and teenage angst; ‘‘Die Fleder- able to find your way back. Idid, and it took Metropolitan Opera of New York: ‘‘The over- ‘‘Prince Igor,’’ the lone (and unfin- maus,’’ with new dialogue by the patience and alot of work. Ihad to learn to HOWAR arching theme of any Met season is one of ished) opera by the composer Al- Broadway playwright Douglas speak and then sing again, and slowly put eclecticism.’’ Indeed, the 26operas offered exander Borodin. Astylish slice Carter Beane and new lyrics by one note in front of the other.’’ KEN by the Met this year are adiverse group. of early Russian history, ‘‘Igor’’ is Jeremy Sams; and Massenet’s ‘‘It was ahard process mentally and Rolando Villazón, pictured here as Rodolfo in Puccini’s ‘‘La Bohème,’’ will sing the role of Lensky in There are rarities by Benjamin Britten and reimagined in this new produc- ‘‘Werther,’’ starring Jonas Kauf- physically,’’ he recounts, ‘‘but it has allowed Tchaikovsky’s ‘‘Eugene Onegin’’ in November. Richard Strauss. Six new productions are on tion as the title character’s own mann in the title role. me to look for new horizons and new reper- offer, two of which are Russian operas, in- psychological journey. Visuals Of the new productions, the toire, to reach new goals and perceive my- things to the limit and takes love very seri- are singing the right tension, the right em- cluding ‘‘Eugene Onegin,’’ which opened the will include afield of 12,000 wire- most eagerly anticipated is the self as more than asinger. I’m feeling very ously and takes friendship seriously, and is phasis in each phrase.’’ season on Sept. 23. and-cloth poppies, the scarlet new production by Robert Carsen free and very lucky that Icould have gone very passionate and strong in his belief. He made his debut as Lensky in 2006 in ‘‘Onegin’’arrives in ahandsome new pro- setting forthe opera’s ballet: the of ‘‘Falstaff,’’ starring Ambrogio through that process and still keep myca- He’s one of those dark poets, lookingfor an aRoyal Opera House productionatCovent duction staged by Deborah Warner and di- ‘‘Polovtsian Dances.’’ Ildar Ab- Peter Gelb,general Maestri as Shakespeare’s most reer on the best stages in the world.’’ excuse to make something extraordinary of Garden in London. Each time he sings the rected by Fiona Shaw, who stepped in after drazakov sings the title role. manager of the Met. famous comic creation. His November performances as Lensky his life. He lives his life as abig, tragic role, he says, requires renewed preparation Warner had to bow out because of unexpec- The production brings the ‘‘In Ambrogio Maestri,’’ says in Tchaikovsky’s ‘‘Eugene Onegin’’ are his poem.’’ and refreshment. ted surgery. This tragic Tchaikovsky story sweeping epic of the steppes to the Met Gelb, ‘‘we have one of the top two or three OPERA first on the Met stage since a2009 perfor- He continues: ‘‘He is avolcano, it ex- ‘‘I have to do it again every time Ising tells of an ill-fated love triangle and stars stage for the first time in a century. One chal- Falstaffs in the world today.’’ An all-star cast mance of ‘‘Lucia diLammermoor’’ opposite plodes! He is all emotions, aflower that is this part. After two orthree years, Ihave to Anna Netrebko as Tatiana. The production is lenge of staging Borodin’s unfinished opera includes the sopranos Lisette Oropesa and Anna Netrebko. Lensky is an ardent young opening his soul.’’ learn it again, and then do the very impor- LACOMBE acollaboration between the Met and the is making the unconnected scenes dramat- Angela Meade. The production also marks OPOLITAN aristocratwho competes withOnegin for the Villazón says that singing in Russian tant and necessary work of polishing. You English National Opera. ically coherent. ‘‘For Dmitri Tcherniakov,’’ the the bicentennial year of Giuseppe Verdi, ETR hand of the beautiful Tatiana in the tragic ‘‘was the biggest challenge —totranslate listen to the music, to what the music is /M Also at the end of September, the Met director, ‘‘this is apiece he grew up with, it’s BRIGITTE whose ‘‘Rigoletto’’ also returns to the sched- opera. from the Cyrillic and then to use the phonetic demanding of you as asinger, and you try to welcomed back ‘‘The Nose,’’ an absurd apiece that all Russians know,’’ says Gelb. ule in its Las Vegas-themed production from ‘‘‘Onegin’ is afantastic opera,’’ says translation to pronounce the words with a enter into the style of what Tchaikovsky Shostakovich comedy in astriking, visually ‘‘Together in collaboration with Gianandrea last season. The show is aco-production by HOWARD Villazón, and he relishes singing the role: Russian coach. You need to know where to wants. You have to bring your individuality to innovativestaging by WilliamKentridge. Noseda,’’ who is conducting, ‘‘they have the Met, the Royal Opera House of London, ‘‘this passionate poetic soul who takes stress, which way you go in the line, so you the part, which is part of the process.’’ n ‘‘The Nose,’’ one of the great successes of come up with anew dramaturgical structure Teatro alla Scala of Milan, the Canadian Op- KEN Gelb’s administration, will also be presented of the piece which makes it more of an in- era Company and De Nederlandse Opera of in alive, high-definition broadcasttotheat- ternal psychological journey.’’ Amsterdam. RENÉE FLEMING ers, allowing operalovers around theworld New shows, in addition to ‘‘Igor’’ and ‘‘I believe no opera production should last to see what happens when aman’s nose ‘‘Onegin,’’ include ‘‘Two Boys,’’ Nico Muhly’s forever,’’ Gelb says firmly, ‘‘even if the LOVE AND DEATHLY ATTRACTION IN A CZECH CLASSIC runs away. bold first opera about Internet chat rooms scenery doesn’t collapse. It’s healthy to know MET OPERA ON DEMAND that opera is aliving, breathing art form. Ob- Renée Fleming is the most famous Ameri- unique gift for melody and command of Bo- to learn, but mastering singing in Czech is ‘Kiss me,’ Rusalka warns him that he’ll die, visuals and watery effects in an opera that to engage the audience’s sympathy with viously, we have to keep pace with society can singer of the last two decades, reigning hemian folk idiom to create amagical only one of the challenges of the work. but he understands and accepts his fate. spends so much time close to the shore. movement alone, not an everyday task for a As part of the Metropolitan Opera’s ‘‘While the app is free, viewing content Met also makes audio and video titles and the world. If opera is to have afuture it in awide repertory from Verdi to Strauss to opera. ‘‘This is asurprising version of the tale we It’s amorality tale in away, and it’s often di- ‘‘It’s very physical!’’ says Fleming.‘‘But that soprano.’’ continued efforts to extend its appeal be- requires asubscription,’’ Fuhs explains. available for rental or purchase through has to be alive on the stage, and the way to baroque operas and bel canto rarities.But Like its protagonist, ‘‘Rusalka’’ can cap- know as the LittleMermaid,’’ she says. ‘‘It rected as acoming-of-age story for her. The final scene, when she walks on water, is a She continues: ‘‘And as I’m bringing her yond the walls of its Lincoln Centerhome, ‘‘The majority of our subscribers join after partnerships with iTunes and Amazon keep it alive is through new productions.’’ the role the soprano is most closely associ- tivate an audience,and Czech opera isin has avery dark and complex ending. It took opera is an intriguing version of this beloved sublime piece of stagecraft.’’ to life the audience has questions.Why the company has expanded its video and experimenting with the service during the Instant. He adds, referring to Franco Zeffirelli pro- ated with is the title role in ‘‘Rusalka,’’ Antonin Fleming’s blood. ‘‘I love this opera —every- me awhile —afew productions —tofully story, and withstands interpretation well.’’ ‘‘Portraying Rusalka requires stamina,’’ does the Prince react so badly? Why does audio streaming service to tablet com- seven-day free trial we offer.’’ The billing ‘‘The video and audio quality of the ductions: ‘‘Other than the ‘Bohème’ and ‘Tur- Dvorak’s 1901 fairy tale of amermaid strug- thing about it,’’ she confides. ‘‘My great- understand what happens to Rusalka in the The Met production dates from 1993 — she says. ‘‘Because she’s onstage almost Rusalka’s simple longing for human love go puters via the launch of the Met Opera on rate following the trial is $14.99 amonth, HD performances is extremely impres- andot,’ everything is fair game.’’ gling for acceptance in the human world.