The Met slips in a US conductor debut

The excellent Roderick Cox has been added to the roster for the Barbiere revival in March.

Assuming the Met has reopened by then.

 

Roderick says: I am thrilled to announce my debut with the The Metropolitan Opera in Rossini’s Il Barbiere di Siviglia, March 2021. I adore this opera, and I am indeed honored and humbled to be able to perform it with two amazing casts next spring at the MET and San Francisco Opera. I just hope we are all able to return to the stage very soon and that our dear MET Orchestra Musicians may also return to work in January.

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  • Jeffrey Biegel says:

    Good luck, Roderick! It will be one of the most auspicious debuts of the new season!

    • Doug says:

      We were lucky to have him as Associate conductor here in Minneapolis with the Minnesota Orchestra.

    • Oh my!! says:

      There ARE a lot of Liberal RACISTS judging by all of the downvotes!!

      • Jack says:

        How do you discern racism or liberal politics from what has been written here. Oh, that’s right. This is Slipped Disc, the home of the broad brush.

    • Nobody says:

      I’m confused. There are downvotes because…(?) It seems like a very well meaning post of best wishes on something really big for Maestro Cox. Can someone who downvoted please enlighten me?

  • Old Man in the Midwest says:

    A very good talent. Glad to see that he is getting support from the Establishment.

  • d says:

    Pretty big debut considering he’s only ever conducted one opera – Pearl Fishers, in 2019, if I’m reading Opera Database correctly, and has yet to ever conduct Barber . . . don’t know too many conductors who make a Met debut with only their second ever opera . . .

  • Bea says:

    Awful headline.

  • RW2013 says:

    So you only need one (1) opera in your performed repertoire before you conduct at the Met?
    https://www.operabase.com/artists/roderick-cox-86358/en
    Just asking…

  • James Lafayette says:

    It’s insane that such an incredibly BORING musician can be booked by the MET. Has anybody there actually witnessed a rehearsal/concert with this man? Not a single drop of passion. Dry as a bone.

    • Bruce says:

      It’s funny how everyone who gets a big gig is incredibly boring according to someone, who invariably knows better than the people who did the hiring.

      • James Lafayette says:

        Bruce, spending two weeks of dreary rehearsals and utterly uninspiring concerts under this guy’s baton DOES qualify one to “invariably know better” than the people who did the hiring (in other words, the people who DON’T have to spend two weeks of dreary rehearsals and utterly uninspiring concerts under this guy’s baton).
        Have YOU ever had to endure that? But yes, point taken…

        • Alex says:

          James, there is not a SINGLE review of any concert I have seen of his that ever says “boring” or “dreary.” If you can find one, I would love to read it, however the broadcast performances I have heard and every thing I have seen in print of his actual work has been superb. Have you read the review from the Cleveland Orchestra, Philharmonia Orchestra, listen time the performance from LA Philharmonic? How about from His debut with Houston Grand Opera? I doubt he would be receiving such repeat invitations if his two weeks with you were boring and dreary. Maybe your playing was what was uninspiring. Stop being a troll in the site.

  • David Barnes says:

    Complmenti e buona fortuna!

  • Frantz says:

    Good luck, maestro Cox. What a wonderful honor. The Barber of Seville, one of Rossini’s masterpiece.

  • John R says:

    Why is this news? Gelb would do anything to save money.

  • Phil Gainsley says:

    Nice going Roderick and the Met!

  • Anonymous says:

    The Met is now officially a cesspool of identity politics! A lustrous, decades-long international track record is no longer a requirement to sing or conduct anything there. The only required “credential” is that you have a recording contract, good PR and swear allegiance to the leftofascist narrative of “inclusivity” and “diversity” —or, as in this case, that you be the diversity pawn in the “liberal” game of virtue-signaling chess.

    I think I’ll pass… (as should anyone who doesn’t wish to throw their hard earned money down the drain by watching one of Glen’s many failed casts/shows).

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