Review: The Met’s New ‘Carmen’ Trades Castanets for Cutoffs

Article by Zachary Woolfe from The New York Times

The conductor Daniele Rustioni kept to moderate, well-judged tempos, and the train always stayed firmly on the tracks, including precise work by the chorus ... In the preludes to the third and fourth acts were glimpses of a wilder, more expansive and more beautiful vision of Bizet’s score…

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