An eye-popping ‘El Niño’ at the Met paints the Nativity at grand scale

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An eye-popping ‘El Niño’ at the Met paints the Nativity at grand scale
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John Adams’s 2000 opera-oratorio “El Niño” comes to eye-popping life in a new Metropolitan Opera production by director Lileana Blain-Cruz.

J'Nai Bridges and Julia Bullock and Siman Chung, Key'mon W. Murrah and Eric Jurenas in the Metropolitan Opera's performance of “El Niño.” NEW YORK — Tisn’t remotely the season, but the Metropolitan Opera’s colorful new production of John Adams’s “El Niño” is good reason to celebrate Christmas in May.

Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories,Sometimes these texts deepen the personal drama of the Nativity as well as the physical toll of motherhood — as when Mary sings of her pregnancy “I felt him grow at my expense” and “steal the color from my blood.

Projected textures lend the entire scene an undulating motion, a subtle vivacity that makes the story feel like a living thing. The chorus, outfitted to evoke leaves, adds to this amplified naturalism. And many of the production designs draw from this visceral vocabulary: glaring eyes stud the skies; a pair of descending wings in vascular pink neon descends from the heavens; a vaguely vaginal apparition haunts Joseph in a dream.

Bridges brought a more regal bearing to her Mary, her tone velvety and generously full, especially Castellanos’s “La anunciación,” atop a tempest of woodwinds and reaching trombones.

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