Tommasini ha debido de tener acceso a una función secreta con cantantes diferentes a los que escuchamos anoche:
https://www.nytimes.com/2018/03/16/arts ... opera.htmlCitar:
The audience applauded each trick, understandably; if this meant that the spirited playing of the orchestra under the conductor David Robertson became background music, I don’t think Mozart would have minded.
[...]
The tenor Ben Bliss is wonderful as Ferrando, with an ideally sweet voice and boyish earnestness
[...]
Ms. Majeski’s lustrous, focused voice and Ms. Malfi’s mellower tones blend beautifully in the scene, [...] You sense what they are really longing for.
[...]
[T]he Met certainly has a winning show here
No sé si a Mozart le habría importado que su maravillosa obertura se convirtiese en «música de fondo», pero al espectador que va a la ópera y no al circo a lo mejor sí.
Yo, que suelo ser benévolo, no la pude terminar ayer y aunque tengo entrada para el 31, es fácil que no vaya.