Batty Masetto
I’ve been picking away yet again at the mysterious symbiosis between an opera’s words and its music.
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The Hänsel und Gretel discussions over the holidays plunged me down a YouTube rabbit hole.
After Heart of a Soldier, The Perfect American, The Gospel According to Mary Magdalene, et al., the premiere of Theodore Morrison’s Oscar in Santa Fe last Saturday came as a welcome relief.
Reactions to the Zambello Ring may have been mixed, but the response to the Parterrian meet-ups was roaringly positive, as shown by the massive turnout for the last pre-Götterdämmerung brunch. So here (well, actually, not here, but rather after the jump) are the faces behind some of the monikers.
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by…
JumpingClappingMan deserves a long, loud round of applause for organizing the first gathering of Parterre’s SF Chapter (artist’s conception of the scale of the event pictured above). The highlight of the afternoon was our host’s heart-rending, toe-tapping, gut-wrenching account of “Signore ascolta,” soon to be a major motion picture thanks to Chang‘s Zeffirelli-scale direction and…
