Cher Public

Laura Amorosa

Salvation for the savior

When Claus Guth’s production of Lohengrin opened at La Scala in 2012 it was almost universally panned, and not just for lack of fidelity to the story, but more in general for its almost cryptic intentions. Critics were almost unanimous in admitting that it was not clear to them what Guth was after in his concept.  Read more »

Trapped in the web of love

Which operatic character could be best described as a spider? Assume this question were asked at the next Met Opera Quiz: what would be your answer?   Read more »

Text appeal

What makes Norma such a high-profile role in the soprano repertory? Like the druids in the opera, we the audience anxiously await her entrance, wonder how she will sing, ponder her ability, and condemn her if she does not deliver what we expected. As for the character, there is no forgiveness for a soprano who tackles this role; we all seem to have a picture in our heads of how the role should sound, should be sung, and should be acted. The ghosts of the great Normas of the past confirm and solidify our beliefs.   Read more »