Getting insights from wine experts, though, can ease the process––especially now that the wine scene is moving toward a more pared-down approach to glassware. There’s incredible lightness to this being.Īs such, he may be more effective at attracting a new generation of admirers to the art form than any discounts or pre-show mixer for patrons 35-and-under.With so many styles available at a wide range of price points, shopping for wine glasses can be overwhelming. He treats viewers to a self-deprecating peek inside the Met’s wig room while clad in a decidedly anti-primo uomo sweatshirt, gamely dons his styrofoam khepresh for close range inspection, and cracks himself up by high-fiving his own pharaonic image in the lobby. It has to be for him to handle the score’s demanding arpeggios and intricate repetitions, notably the six-minute segment whose only lyric is “ah.” His breath control on that section earns high praise from his longtime vocal coach Joan Patenaude-Yarnell.īut-and this will come as a shock to those of us whose concept of male opera stars is informed nearly exclusively by Bugs Bunny cartoons and the late Luciano Pavarotti-his outsized talent does not seem to be reflected in outsized self-regard. His dedication to his craft is obviously extraordinary. (One step the video doesn’t touch on is the workout regimen he embarked on in preparation for his nude debut, a 6-day-a-week commitment that inspired him to found one of the first American businesses to offer fitness buffs training sessions using Electrical Muscle Stimulation.) As the pharaoh who reduced ancient Egypt’s pantheon to a single god, Aten, aka the sun, he makes his first entrance completely nude, head shaved, flecked in gold, facing the audience for the entirety of his four-minute descent down a 12-step staircase. Perhaps the biggest surprise awaiting the uninitiated is the playful offstage manner of Anthony Roth Costanzo, the supremely gifted countertenor in the title role.
We presume everyone gets that bringing an opera to the stage involves many more departments, steps, and heavy labor than can be squeezed into a 10-minute video. This maximalist approach to minimalist modern opera has proved a hit, though the New York Times ‘ critic Anthony Tommasini opined that he could have done with less juggling…
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