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An outstanding Benjamin Bernheim dominates the Met’s Les Contes d’Hoffmann revival

This version of Offenbach’s Les Contes d’Hoffmann should endure for another couple of decades.

Benjamin Bernheim's performance was ideal, with glorious high notes, exquisite legatos and impeccable diction. Moreover, the tenor brought a different color, vocally and interpretively, to nearly all his interventions.

- from Seen and Heard International

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Brenda Scofield
FAMA Vice-Chairman
Tesori’s “Grounded” scores a dark triumph
in Met season opener

As Jess, the former ace F-16 pilot now assigned to the “Chair Force” by day and mommy duty by night, mezzo-soprano Emily D’Angelo bravely carried this opera’s considerable psychological and philosophical burdens, strongly inhabiting a role whose challenges had more to do with emotional grounding (so to speak) than with vocal display.

From the crackling irony and military profanity of Brant’s dialogue to the sharp mood etching of Tesori’s score, Grounded proved a worthy successor to Fire Shut Up in My Bones and Dead Man Walking as powerful—and indelibly American—statements to open a Met season.

- from New York Classical Review

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Brenda Scofield
FAMA Vice-Chairman

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