Wynton Marsalis’s Homecoming Farewell
By WILL FRIEDWALD
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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Gluck’s operas are filled with music written especially for dance, particularly the versions prepared for production in Paris. But in the Metropolitan Opera’s new production of Gluck’s “Orfeo ed Euridice,” which had its premiere Wednesday night, dance, though courtesy of Mark Morris, was the production’s weakest element. Or perhaps weak is not the right word — extraneous might be more like it.
By WILL FRIEDWALD
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By MATTHEW RICE
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By THE NEW YORK SUN
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By LAWRENCE KUDLOW
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By LUKE FUNK
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By JOSEPH CURL
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By BENNY AVNI
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By MATTHEW RICE
|Gluck’s operas are filled with music written especially for dance, particularly the versions prepared for production in Paris. But in the Metropolitan Opera’s new production of Gluck’s “Orfeo ed Euridice,” which had its premiere Wednesday night, dance, though courtesy of Mark Morris, was the production’s weakest element. Or perhaps weak is not the right word — extraneous might be more like it.
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