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Cher Public

  • Buster: Bradic is indeed wonderful. She was in the ensemble in Antwerp a few years ago – saw her in... 4:30 PM
  • phoenix: I didn’t need another NYT Clinton endorsement, but read the article and enjoy it –... 4:29 PM
  • PushedUpMezzo: I was at one of the Dresden performances and she certainly convinced me. In fact, having heard... 4:16 PM
  • manou: http://opernnetz.d e/seiten/rezension en/dre_tri_hoe_131 116.htm 4:15 PM
  • PCally: The one review I read was decidedly mixed, after which I read that she canceled the Bayreuth Isolde.... 4:09 PM
  • Gualtier M: Hey Broken Record: The Richard Tucker Prize goes to a young AMERICAN singer. ALWAYS. (I know I... 4:08 PM
  • Thingsaregettingbetterdownhere: orestes: The boys can’t keep up with Goerke-Mattila-Bar ton, but that... 4:03 PM
  • turings: I’m glad they’re featuring Katarina Bradic in Amor vien dal destino. I don’t know... 3:51 PM
  • orestes: I’m going to Walkure on Thursday and can’t wait to hear her. She wowed me as Adalgisa,... 3:44 PM
  • uwsinnyc: Good points. I find her interesting but she doesn’t give me goosebumps and the voice never... 3:11 PM

He is big

Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop. It’s a work bursting with miraculously youthful vigor, which the newly invigorated James Levine brought to the Metropolitan Opera on December 6. Levine rightfully reveres Falstaff, and his light, deft touch and detailed musical ear were matched in Robert Carsen’s witty, visually stunning production, where Shakespeare’s Merry Wives live in 1950’s Windsor, leaving their bright kitchens to lunch at smart restaurants.   Read more »

Teen queen

Handel’s first surviving musical composition is Almira, the opera he wrote in a hurry when shake-ups at the Hamburg opera house, where the 19-year-old had been playing in the violin section, left a planned production unfinished. Mixing German and Italian text, stuffed with French dances and pageantry, and with a comic servant character right out of Venetian opera, Almira is as up-to-date as the cosmopolitan city got in 1705.  Read more »

Desert fox

Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective and Evan Rogister handled the shimmering, richly expressionistic orchestral writing with consummate skill. The choral writing is ravishing, especially the ecclesiastical Russian-sounding opening movement that emerges from the stark sounds of bells and gongs.   Read more »

pearl_fishers

The desert song

You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.

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