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2012.11 Capital New York: Barking when needed

Barking when needed:
Seeing and hearing three of today’s most remarkable operatic voices

CapitalNewYork.com 8.11.2012

Joel Lobenthal

” … Finley and Keenlyside, by contrast, have managed their voices so prudently that, both in their early fifties, each is still at the top of his game. And they’ve done it without sacrificing emotional conviction. They never seem like they’re shortchanging musical or psychological truth. … Keenlyside’s Tempest Prospero marks his return to the Met after a two-year absence. He premiered Adès’s opera at London’s Covent Garden in 2004 and it has since gained a foothold in the international repertory. To me, however, Keenlyside’s return was not an unalloyed joy. As much as Prospero himself, Keenlyside frequently seemed marooned by the opera and this production. … But Keenlyside is often standing in dim lighting, and for a lot of the time he’s merely a spectator prowling downstage, peering through a scrim at the significant action. Both Prospero and Keenlyside have earned more deference, a more creative use of their personas. Tempest runs at the Met through Nov. 17, and on Nov. 19 Keenlyside will be singing Berg’s Wozzeck in a concert performance at Avery Fisher. He seems to have a definite interest in music’s depiction of the outcast and alienated—witness as well his moving performance in Britten’s War Requiem here a year ago. I’m looking forward to seeing him foregrounded on the concert stage. … “

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