Cher Public

Kevin Fullerton

To weep and remember

fallujahIn military jargon “collateral damage” describes incidental death, maiming, or damage inflicted on an unintended target during a legitimate military attack. But last evening’s scorching performance of Fallujah by the New York City Opera demonstrated that sometimes the impact is not limited by physical proximity.  Read more »



If Kathleen Battle had any concerns about how she might be greeted by the sold out audience at the Metropolitan Opera on Sunday afternoon, those concerns were assuaged the moment (35 minutes late!) she appeared on stage. Miss Battle, clad in a striking, form-fitting garnet colored gown with voluminous gold silk wrap, was greeted with a thunderous ovation befitting a beloved singer at the end of an illustrious career.

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Pièce de résistance

Bartoli NormaAfter enduring a pitiful performance of Verdi’s Aida at one of Italy’s most beautiful opera houses—Napoli’s Teatro San Carlo—in an ugly, mindless production performed in the “any arm you can raise, I can raise higher” style of acting, I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.  Read more »