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Rebecca Mead's profile of Natalie Dessay appears in this week's New Yorker (online for subscribers)

Award-winning stage director Robert Wilson’s signature works include King of Spain, Deafman Glance, The Life and Times of Joseph Stalin, and A Letter for Queen Victoria. With Philip Glass, he created Einstein on the Beach. Following Einstein, Wilson worked with major European theaters and opera houses, creating Death, Destruction & Detroit and Death, Destruction & Detroit II; and the groundbreaking musical works The Black Rider and Alice. His work in the operatic repertoire includes major productions of Parsifal, The Magic Flute, Madame Butterfly, and Lohengrin. Extensive retrospectives have been presented in Paris, Boston, Amsterdam, London, New York, Bilbao, and Seattle.


Rebecca Mead writes about Natalie Dessay in The New Yorker, ..

New yorker dessay Research paper Academic Writing Service

The New York Times, and the opera blog world, had a grand old time at the Met's grand opening last night, whether inside the theater or out on Times Square. is the most over-the-top in his praise, calling Natalie Dessay's performance in Lucia de Lammermoor "glorious" and "intuitive" and offering measured praise to Mary Zimmerman's staging. Hilariously, even the night's biggest fiasco — Dessay's ass-over-teakettle fall on the raked stage in the middle of her first scene — is presented as a triumph for the "born actress":


The Metropolitan Opera, New York, NY
“LA TRAVIATA”
Opera in Three Acts, libretto by Francesco Maria Piave.
Music by Giuseppe Verdi
Violetta Valery MARINA REBEKA
Alfredo Germont STEPHEN COSTELLO
Giorgio Germont QUINN KELSEY
Flora Bervoix MAYA LAHYANI
Gastone di Letorières EDUARDO VALDES
Baron Douphol JASON STEARNS
Marquis D’Obigny KYLE PFORTMILLER
Dr. Grenvil JAMES COURTNEY
Annina MARIA ZIFCHAK
Giuseppe JUHWAN LEE
Messenger JOSEPH TURI
Guest ATHOL FARMER
Gentleman PAUL CORONA
Metropolitan Opera Chorus & Orchestra
Musical direction Marco Armiliato
Stage direction Willy Decker
Designer Wolfgang Gussmann
Associate Costume Designer Suzana Mendoza
Lights Hans Toelstede
Choregraphy Athol Farmer
New York, December 16, 2014
Inspired by a performance of Natalie Dessay of La femme dont le coeur rêve, an aria from Jacques Offenbach’s Tales of Hoffman. Rebecca Mead writes about Natalie Dessay in The New Yorker, March 2,2009:David Daniels and Natalie Dessay star in David McVicar‘s innovative production of Handel’s most popular opera in this season’s final broadcast of Great Performances at the Met . (In New York, THIRTEEN will air the opera )