Queen of Spades: Three, Seven, ACE

I have a new object of hero-worship and his name is Andris Nelsons.  I spent much of Friday night on the edge of my seat (which, unbelievably, was in the orchestra section and obtained at student price 15 minutes before curtain.)  The Met's Queen of Spades, in a suitably moody production, romantic and stark by turns, and always stylish, is cast this season without a weak link; each of the principals brought impressive vocal artistry and theatrical intensity to their respective roles.  Pictures from previous runs of Elijah Moshinsky's 1995 production may be found here and here; update: pictures from this run here.  I feel I'd be better able to evaluate it if I were more familiar with the score, or other productions, but it served well to highlight the contrasts between the "normal" world of St. Petersburg and the fateful trajectory of the obsessed Hermann.  I'm not quite sure I understood the device of the picture frame, although it did serve as a dramatic demarcation between Hermann and society in the scene at the ball and elsewhere.  The restricted color scheme also helped keep even the grandest scenes from the merely spectacular (a scenery-applauder was shushed, and my soul rejoiced, but unfortunately they found strength in numbers on two occasions.  Premature applauders were also shushed, twice!  Overheard conversations confirmed the impression that although there were empty seats, those who were there were enthusiasts.)  For a quick synopsis of the opera go here.