The story of this opera was set in the time of the Crusades, when all men gone out on military expeditions, leaving only women behind to wail and lament...But then, there is that son of a duke of something, a certain Count of Ory, who is nothing more than a libertine without any scruples...
You can imagine what a outdated background such is for modern viewers!
So this MET production has this 'historical' thing set as a play within a play, just to be a bit more convincing to modern viewers.
Nevermind that - the musical cast is excellent.
I totally disgree that Florez is disappointing in any way - his performance is utterly convincing, and truly terrific. This MET production is his reprisal of Ory's role since his debut at Pesaro more than a decade ago, and he is in excellent vocal form.
Partnering him, the magnificient German coloratura soprano Diana Damrau gave a truly insinuating interpretation of Adele. This Adele is not a medieval simpleton: as a play within a play, this Adele is a feigned virgin, a dressed-up saint. At heart, she wants men - no matter Ory, or cousin Isolier, she wants men for amusement and fun. Damrau is vocally superb in this performance, with her timbre getting fuller and richer since the birth of her son in 2010. It is her acting, however, that is the high point of this production.
Joyce Didonato's Isolier is also a sterling performance, though in a trouser role, she is handicapped by missing out the full stage glamour afforded to Damrau, who looks surprisingly like a young Meryl Streep.
This one even surpasses the earlier Glydebourne performance with the wonderful Annick Massis and Ludovic Tezier.