Phenomena, Poiēsis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera by Joshua Neumann

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Commentary on Neumann's "Phenomena, Poiēsis, and Performance Profiling: Temporal-Textual Emphasis and Creative Analysis in Turandot at the Metropolitan Opera" by Daniel Barolsky

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Caruso in America:The Creation and Consolidation of the “Yerismo ” Style by TADEUSZ LEWNDOWSKI

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La muerte de Enrique Granados: contexto y controversia by Walter Aaron Clark

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A ópera a que assistimos: um estudo de caso by Claudio Reis Vieira

“…Esse artigo discute as relações de produção que caracterizam as montagens operísticas contemporâneas a partir do programa "Ópera no cinema", que trasmite récitas do Metropolitan Opera House, em alta definição e ao vivo, para salas de cinema em diferentes países. …”
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The Marriage of Heaven and Hell: On the Functional Approach to Translating Libretti for Modernised Opera Productions by Aleksandra Ożarowska

“…The data for the present study come from the most reputable opera houses, for example the Metropolitan Opera House or Royal Opera House, as they are known for providing their audiences with high-quality libretti translations.…”
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The Emperor Jones de Louis Gruenberg : le long voyage au cœur/corps de l’Autre race by Benoît Depardieu

“…On January 7, 1933, two years before Gershwin’s Porgy and Bess, The Emperor Jones, composed by Louis Gruenberg in 1931, had its world premiere at the Metropolitan Opera of New York. Although Gruenberg’s opera looks like a mere musical adaptation of O’Neill’s acclaimed play, first performed in 1920, some alterations made by the composer allow to question its ambivalent reception by the audience and the critics. …”
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Beyond the libretto by Aleksandra Ożarowska

“…The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. …”
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Bring in the ballerinas – a multimodal analysis based on the Actor-Network Theory by Luiz Antônio Caldeira Andrade, Sônia Maria de Oliveira Pimenta

“…The aim of this article is to investigate how the physical and non-physical elements in Zach Gross’s short video of two ballerinas at the Metropolitan Opera House performing a scene of Onegin, a Tchaikovsky’s opera based on Pushkin’s classical literary work, contribute to represent the main female character – Tatyana – around which the story takes place. …”
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Review of Hilary Poriss. 2009. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford: Oxford University Press by Elliott S. Cairns

“…Readers may recall the 1998 production of Mozart's Le nozze di Figaro at the Metropolitan Opera in which mezzo-soprano Cecilia Bartoli, to much criticism, sang two arias in place of the two traditionally sung by her character, Susanna. …”
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Digital scenography and the mimetic aporia of Richard Wagner's Ring Cycle by Jason R. D’Aoust

“…Three specific productions of the Ring are discussed, namely the inaugural and centenary productions at the Bayreuth Festspielhaus, as well as Robert Lepage's production for the Metropolitan Opera of New York in 2010–2012.…”
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Da ópera para o cinema, do cinema para a ópera: a arte do ator-cantor by Luíza Beatriz Alvim, Diana Maron

“…Para nossas reflexões, usamos um caso com boa documentação de exibição cinematográfica, o da estrela do Metropolitan Opera House, a soprano Geraldine Farrar, como Carmen, no filme homônimo de 1915 de Cecil B. …”
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De David Belasco à Giacomo Puccini : La Fanciulla del West, premier opéra « américain » by Walter Zidaric

“…This work, specially composed for the American stage, which had its world premiere at New York’s Metropolitan Opera in December 1910, paved the way for American composers who increasingly focused on American History in their quest for a “national” opera. …”
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American Christians for and against Parsifal: Debating the Holy Grail Opera in New York by Frederick Hale

“…A heated debate took place in 1903 when Richard Wagner’s opera Parsifal, which since its première at Bayreuth in 1882 had been hailed as a magnificent representation of redemption and other themes central to Christianity, was staged at the Metropolitan Opera House in New York – its first performance as an opera outside its original venue. …”
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Porgy and Miles by Mark Tucker

“…Describing himself as a “nonconformist”-“cool and hip and angry and sophisticated and ultra clean”-Davis identified with others in that period who were breaking barriers and challenging authority: Martin Luther King leading the Montgomery bus boycott, Marian Anderson appearing as the first black singer at the Metropolitan Opera, Marlon Brando and James Dean gaining popularity as actors by portraying rebels (Davis 1989:197-98). …”
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Electronic delivery of alternative contents in cinemas before the digital era: the case of theater television in the US exhibition market in the 1940s and 1950s by Kira Kitsopanidou

“…On december, the opera Carmen was telecasted from the Metropolitan Opera in New York to 31 theaters in 26 cities. …”
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Opera, Sound Recording, and Critical Race Theory by Matthew Timmermans

“…I begin with some recent events in American musicology and in the New York operatic scene; then, turn to a consideration of some of the scholarship just mentioned; and finally conclude with a brief discussion of a specific recording, the Metropolitan Opera’s “live” sound recording of the 2019 production of Gershwin’s Porgy and Bess.…”
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Opera at Columbia: A Shining Legacy by Margaret Ross Griffel

“…Listening to the Saturday afternoon broadcasts from the Metropolitan Opera was a ritual in my parents’ home, and we talked about our visits to the Met (albeit in the “nosebleed” seats) for weeks afterward. …”
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Muzyka baletowa Aleksandra Tansmana – prezentacja źródeł i perspektywy badawcze by Łukasz Kaczmarowski

“…Należą do nich chociażby wybitne nazwiska choreografów, z którymi współpracował (Rudolf Laban, Kurt Jooss, Jean Börlin), czy sceny, na których były wystawiane jego dzieła (Metropolitan Opera w Nowym Jorku, Théâtre des Champs-Élysées w Paryżu). …”
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