Zeljko Lucic
Latest News on Zeljko Lucic:
Review: New MACBETH Production, ALCINA in Concert at Barcelona's Liceu – Guess Who Comes Out on Top: Part Two (Feb 23, 2023)
BWW Review: Double, Double, Netrebko's Got No Trouble with MACBETH's Lady, in a Take-Charge Performance (Oct 11, 2019)
BWW Review: Laugh a Little, Cry a Little for Met's Well-Sung RIGOLETTO (Feb 18, 2019)
Review: New MACBETH Production, ALCINA in Concert at Barcelona's Liceu – Guess Who Comes Out on Top: Part Two (Feb 23, 2023)
BWW Review: Double, Double, Netrebko's Got No Trouble with MACBETH's Lady, in a Take-Charge Performance (Oct 11, 2019)
BWW Review: Laugh a Little, Cry a Little for Met's Well-Sung RIGOLETTO (Feb 18, 2019)
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Review: New MACBETH Production, ALCINA in Concert at Barcelona's Liceu " Guess Who Comes Out on Top: Part Two
Two operas in two days at Barcelona’s legendary Liceu opera house. Who could ask for anything more? Well, turns out you can, judging by the visiting ALCINA from Marc Minkowski’s Musiciens du Louvre and the Liceu’s new production of Verdi’s MACBETH by Jaume Planes. Part II: Verdi’s MACBETH
Two operas in two days at Barcelona’s legendary Liceu opera house. Who could ask for anything more? Well, turns out you can, judging by the visiting ALCINA from Marc Minkowski’s Musiciens du Louvre and the Liceu’s new production of Verdi’s MACBETH by Jaume Planes. Part II: Verdi’s MACBETH
BWW Review: Double, Double, Netrebko's Got No Trouble with MACBETH's Lady, in a Take-Charge Performance
Five years ago, Anna Netrebko unveiled her take on Verdi's Lady Macbeth at the Met and wowed audiences from here to eternity. But since the first week of the Met season, she's brought her sexy, ebullient and take-no-prisoners Lady Macbeth back and showed that she's even better than ever--singing the pant (and the spots) off the role.
Five years ago, Anna Netrebko unveiled her take on Verdi's Lady Macbeth at the Met and wowed audiences from here to eternity. But since the first week of the Met season, she's brought her sexy, ebullient and take-no-prisoners Lady Macbeth back and showed that she's even better than ever--singing the pant (and the spots) off the role.
BWW Review: Laugh a Little, Cry a Little for Met's Well-Sung RIGOLETTO
No matter what one thinks of the Met's transfiguration of Verdi's RIGOLETTO from Francesco Maria Piave's Mantua to '60s Las Vegas--I personally like much of this “Rat Pack” production from director Michael Mayer--the singing at Saturday's performance [the second of the season] was first rate.
No matter what one thinks of the Met's transfiguration of Verdi's RIGOLETTO from Francesco Maria Piave's Mantua to '60s Las Vegas--I personally like much of this “Rat Pack” production from director Michael Mayer--the singing at Saturday's performance [the second of the season] was first rate.
BWW Review: LA TRAVIATA at Lyric Opera Of Chicago
As with most tales of doomed romance, Giuseppe Verdi's LA TRAVIATA highlights the contrasts between two social spheres and the difficulties faced by lovers who try to bridge this chasm. In this 1853 opera, based on a play by Alexandre Dumas, fils, the beautiful courtesan Violetta Valery (Albina Shagimuratova) tries to escape her past life among the hedonistic upper classes of Paris to settle down with her true love, Alfredo Germont (Giorgio Berrugi). After a brief period of bliss, the couple is driven apart by the strict bourgeois morality of Alfredo's family, in particular his father, who refuses to overlook Violetta's shameful past until she is on her deathbed.
As with most tales of doomed romance, Giuseppe Verdi's LA TRAVIATA highlights the contrasts between two social spheres and the difficulties faced by lovers who try to bridge this chasm. In this 1853 opera, based on a play by Alexandre Dumas, fils, the beautiful courtesan Violetta Valery (Albina Shagimuratova) tries to escape her past life among the hedonistic upper classes of Paris to settle down with her true love, Alfredo Germont (Giorgio Berrugi). After a brief period of bliss, the couple is driven apart by the strict bourgeois morality of Alfredo's family, in particular his father, who refuses to overlook Violetta's shameful past until she is on her deathbed.
BWW Review: Dudamel's Baptism by Fire Turns in a Solid, Throbbing OTELLO at the Met
Talk about baptism by fire! That's what Gustavo Dudamel--that wunderkind of the classical conducting world--faced as he reached the podium of the Met for the first time Friday night. Not only was he conducting Verdi's great opera, OTELLO, but he was doing so with a last-minute substitute in the title role. The result: All went well with the Met's production of the masterwork.
Talk about baptism by fire! That's what Gustavo Dudamel--that wunderkind of the classical conducting world--faced as he reached the podium of the Met for the first time Friday night. Not only was he conducting Verdi's great opera, OTELLO, but he was doing so with a last-minute substitute in the title role. The result: All went well with the Met's production of the masterwork.
Lyric Announces Guest Artists for Renée Fleming 25th Anniversary Concert
Lyric Opera of Chicago is pleased to announce the participation of several outstanding singers in the Renee Fleming 25th Anniversary Concert & Gala*, to honor and celebrate American soprano Renee Fleming's extraordinary commitment to Chicago and her unparalleled contributions to our art form.
Lyric Opera of Chicago is pleased to announce the participation of several outstanding singers in the Renee Fleming 25th Anniversary Concert & Gala*, to honor and celebrate American soprano Renee Fleming's extraordinary commitment to Chicago and her unparalleled contributions to our art form.
BWW Review: Kaufmann Returns to the Met with a 'Heigh-ho Silver' in Puccini's FANCIULLA DEL WEST
Anyone who was expecting the equivalent of Bette Midler's arrival as Dolly in the Harmonia Gardens when Jonas Kaufmann finally returned to the Met, on October 17, after four years and some high-profile cancellations, must have been wildly disappointed. Oh sure, Kaufmann looked like a glamorous buckaroo and compared to some of the star tenor misfires already this season at the Met, he had a triumph.
Anyone who was expecting the equivalent of Bette Midler's arrival as Dolly in the Harmonia Gardens when Jonas Kaufmann finally returned to the Met, on October 17, after four years and some high-profile cancellations, must have been wildly disappointed. Oh sure, Kaufmann looked like a glamorous buckaroo and compared to some of the star tenor misfires already this season at the Met, he had a triumph.
BWW Review: The Met's New TOSCA Tries for Beauty but Disappoints
The trials and tribulations of the Met's new take on Puccini's TOSCA have been well documented--with all three principals replaced along with two conductors--and it would be nice to be able to say that everything came out happily-ever-after. Alas. There's nothing wrong with the company's surprise-free new take on one of Italian opera's most famous works that a stronger director couldn't come in and cure.
The trials and tribulations of the Met's new take on Puccini's TOSCA have been well documented--with all three principals replaced along with two conductors--and it would be nice to be able to say that everything came out happily-ever-after. Alas. There's nothing wrong with the company's surprise-free new take on one of Italian opera's most famous works that a stronger director couldn't come in and cure.
Photo Flash: TOSCA Lives for Her Art at the Met
Emmanuel Villaume will conduct the Met's new production of Puccini's Tosca, on December 31, 2017, and January 3, 6, 9, 12, 23, and 27, 2018, replacing James Levine.
Emmanuel Villaume will conduct the Met's new production of Puccini's Tosca, on December 31, 2017, and January 3, 6, 9, 12, 23, and 27, 2018, replacing James Levine.
BWW Review: Racette Strips to Essentials as Opera's Ultimate Mean Girl, SALOME, at the Met
Despite some fine singing from soprano Patricia Racette (who also went the Full Monty in the title role), the Met's revival of Richard Strauss's SALOME was a little tame--something that it should never be.
Despite some fine singing from soprano Patricia Racette (who also went the Full Monty in the title role), the Met's revival of Richard Strauss's SALOME was a little tame--something that it should never be.
BWW Review: The Met's 'Ratpack' RIGOLETTO and the Art of Making Opera
The Met's production of Verdi's great opera RIGOLETTO, is often referred to as the 'Ratpack' version--because it is set in the Las Vegas days of Frank Sinatra and his high-living cronies. From its debut, it was a huge success for the company and with good cause. It was brilliantly conceived and sung, even though the title role seemed fuzzier than it usually is in the standard setting. But how would it stand up, season after season, I wondered, when the novelty wore off? The good news is that the production (excitingly designed by Christine Jones) not only remains effective and entertaining, but, in a key way, it is even better than at the premiere nearly three years ago.
The Met's production of Verdi's great opera RIGOLETTO, is often referred to as the 'Ratpack' version--because it is set in the Las Vegas days of Frank Sinatra and his high-living cronies. From its debut, it was a huge success for the company and with good cause. It was brilliantly conceived and sung, even though the title role seemed fuzzier than it usually is in the standard setting. But how would it stand up, season after season, I wondered, when the novelty wore off? The good news is that the production (excitingly designed by Christine Jones) not only remains effective and entertaining, but, in a key way, it is even better than at the premiere nearly three years ago.
BWW Review: The Diva Out-Divas the Diva in the Met's TOSCA
The title character in Puccini's TOSCA is the quintessential diva--a grand performer ('goddess' in Italian) who thinks the world revolves around her, particularly when it comers to her lover, painter Mario Cavaradossi. The same might be said for soprano Angela Gheorghiu, who used to be a top attraction at the Met, until cancellations and other prima donna-ish actions saw her fall from favor, despite her fine singing and acting skills. Well, she came back for two performances of her well-traveled (and -received) Floria Tosca and the result was, well, disappointing.
The title character in Puccini's TOSCA is the quintessential diva--a grand performer ('goddess' in Italian) who thinks the world revolves around her, particularly when it comers to her lover, painter Mario Cavaradossi. The same might be said for soprano Angela Gheorghiu, who used to be a top attraction at the Met, until cancellations and other prima donna-ish actions saw her fall from favor, despite her fine singing and acting skills. Well, she came back for two performances of her well-traveled (and -received) Floria Tosca and the result was, well, disappointing.
BWW Review: Yoncheva as Desdemona Shines in New Verdi OTELLO at the Met
When Verdi and Boito were writing their operatic version of Shakespeare's OTHELLO, they were competing with the already-successful (though less faithful) version written by Rossini and thought about calling their opera IAGO. After seeing Bartlett Sher's new production of the Verdi OTELLO, I wondered whether it might have been renamed DESDEMONA--because soprano Sonya Yoncheva gave the opera's most devastating and gorgeous performance.
When Verdi and Boito were writing their operatic version of Shakespeare's OTHELLO, they were competing with the already-successful (though less faithful) version written by Rossini and thought about calling their opera IAGO. After seeing Bartlett Sher's new production of the Verdi OTELLO, I wondered whether it might have been renamed DESDEMONA--because soprano Sonya Yoncheva gave the opera's most devastating and gorgeous performance.
Capitol Center for the Arts Sets MET: Live in HD Screenings for 2015-16
The Capitol Center for the Arts is pleased to announce that it will present 11 productions in next season's Met: Live in HD series, beginning with Verdi's Il Trovatore on Saturday, October 3, at 12:55pm. Single tickets for this series are on sale now for $26 Adults; $22 Seniors/Met/CCA Members; and $15 Students. Season subscriptions are also available at $234 Adults; $198 Seniors/Met/CCA Members; and $135 students.
The Capitol Center for the Arts is pleased to announce that it will present 11 productions in next season's Met: Live in HD series, beginning with Verdi's Il Trovatore on Saturday, October 3, at 12:55pm. Single tickets for this series are on sale now for $26 Adults; $22 Seniors/Met/CCA Members; and $15 Students. Season subscriptions are also available at $234 Adults; $198 Seniors/Met/CCA Members; and $135 students.
Angela Meade Rings in the New Year with a Trio of Concerts
Soprano Angela Meade, the youngest singer ever featured on the cover of the “Diva Issue” of Opera News (November 2014), launches 2015 with a trio of high-profile events in January. She makes her eagerly awaited debut with the New York Philharmonic under Alan Gilbert in three performances of Verdi's Requiem at Avery Fisher Hall (Jan 15-17). Later in the month audiences have the opportunity to hear her star turn in the Richard Tucker Music Foundation's annual gala concert on aLive From Lincoln Center broadcast. “Richard Tucker Opera Gala: A New Century”, which was taped last October, airs on PBS on Friday, January 23, 2015. This weekend Meade is performing in a more intimate New York setting at the Morgan Library (Jan 11) where she shares the bill of a George London Recital with baritone Nicholas Pallesen, a fellow winner of the George London prize.
Soprano Angela Meade, the youngest singer ever featured on the cover of the “Diva Issue” of Opera News (November 2014), launches 2015 with a trio of high-profile events in January. She makes her eagerly awaited debut with the New York Philharmonic under Alan Gilbert in three performances of Verdi's Requiem at Avery Fisher Hall (Jan 15-17). Later in the month audiences have the opportunity to hear her star turn in the Richard Tucker Music Foundation's annual gala concert on aLive From Lincoln Center broadcast. “Richard Tucker Opera Gala: A New Century”, which was taped last October, airs on PBS on Friday, January 23, 2015. This weekend Meade is performing in a more intimate New York setting at the Morgan Library (Jan 11) where she shares the bill of a George London Recital with baritone Nicholas Pallesen, a fellow winner of the George London prize.
Review Roundup: Verdi's AIDA at the Metropolitan Opera
Verdi's Egyptian tragedy Aida, returned to the Met stage October 30 for a 16-performance revival with rotating casts of acclaimed artists and rising stars. The initial performances will star Ukrainian soprano Liudmyla Monastyrska, who made a notable Met debut in the role in 2012, as Aida; Olga Borodina in one of her best-known portrayals as the jealous princess Amneris; Marcello Giordani as the war hero Radamès, a role he first sang at the Met in 2012; Željko Lu?i? in his first-ever Met performances as Amonasro, Aida's father; Ukrainian bass Dmitri Belosselskiy in his Met role debut as the high priest Ramfis; and American bass Soloman Howard in his Met debut as the King. Italian tenor Antonello Palombi will make his Met debut as Radamès on November 22.
Verdi's Egyptian tragedy Aida, returned to the Met stage October 30 for a 16-performance revival with rotating casts of acclaimed artists and rising stars. The initial performances will star Ukrainian soprano Liudmyla Monastyrska, who made a notable Met debut in the role in 2012, as Aida; Olga Borodina in one of her best-known portrayals as the jealous princess Amneris; Marcello Giordani as the war hero Radamès, a role he first sang at the Met in 2012; Željko Lu?i? in his first-ever Met performances as Amonasro, Aida's father; Ukrainian bass Dmitri Belosselskiy in his Met role debut as the high priest Ramfis; and American bass Soloman Howard in his Met debut as the King. Italian tenor Antonello Palombi will make his Met debut as Radamès on November 22.
BWW Reviews: Cancellations Galore Don't Put a Damper on the Richard Tucker Gala at Avery Fisher Hall
Soprano Anna Netrebko was AWOL. Tenor Marcello Giordani wasn't there. Mezzo Isabel Leonard didn't make it either. At least tenor Richard Tucker (1913-1975) had the best excuse for not being at Avery Fisher Hall on Sunday evening. But, as they say “the show must go on”--and the annual gala of The Richard Tucker Foundation certainly did, despite all the cancellations. Celebrating the famed singer, as well as showcasing the newly anointed winner of its top award, tenor Michael Fabiano, the evening was filled with many pleasures.
Soprano Anna Netrebko was AWOL. Tenor Marcello Giordani wasn't there. Mezzo Isabel Leonard didn't make it either. At least tenor Richard Tucker (1913-1975) had the best excuse for not being at Avery Fisher Hall on Sunday evening. But, as they say “the show must go on”--and the annual gala of The Richard Tucker Foundation certainly did, despite all the cancellations. Celebrating the famed singer, as well as showcasing the newly anointed winner of its top award, tenor Michael Fabiano, the evening was filled with many pleasures.
BWW Reviews: That Was No Lady, That Was Netrebko, in Verdi's MACBETH at the Met
Ever since I heard Anna Netrebko's “Verdi” album last year, which highlighted excerpts from the operatic treatment of Shakespeare's MACBETH, I knew her Verdi was the real deal and couldn't wait for her to take on the full Lady Macbeth on stage. Her performances in the Adrian Noble production currently at the Met confirmed my best expectations--and then some.
Ever since I heard Anna Netrebko's “Verdi” album last year, which highlighted excerpts from the operatic treatment of Shakespeare's MACBETH, I knew her Verdi was the real deal and couldn't wait for her to take on the full Lady Macbeth on stage. Her performances in the Adrian Noble production currently at the Met confirmed my best expectations--and then some.
BWW Reviews: For Damrau's Violetta, La Scala's New LA TRAVIATA is a Fate Worse Than Death
Just what the opera world needs: Another director who doesn't have an idea about what to do with an opera. How else could you explain the new Dmitri Tcherniakov production of Verdi's LA TRAVIATA that opened the season at Milan's La Scala, on Saturday December 7th? Seen in a HD broadcast from the Emerging Pictures' 'Opera in Cinema' series, it showed what a travesty the Russian director's production was.
Just what the opera world needs: Another director who doesn't have an idea about what to do with an opera. How else could you explain the new Dmitri Tcherniakov production of Verdi's LA TRAVIATA that opened the season at Milan's La Scala, on Saturday December 7th? Seen in a HD broadcast from the Emerging Pictures' 'Opera in Cinema' series, it showed what a travesty the Russian director's production was.
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