Cher Public

  • m. croche: Though I now possess a bearish exterior, I, too, am a brother of Sun Wukong. 3:11 PM
  • redbear: Just found more on this in the Guardian. A commenter mentioned that the last time we saw her at the opera, she was shot on the... 2:57 PM
  • chicagoing: Ms. Racette received an enthusiastic ovation for her Elle in La Voix Humane this past Saturday night at Chicago Opera Theatre.... 2:55 PM
  • redbear: I may have come in second, but the other guy came in next to last! 2:51 PM
  • manou: I am a Monkey! 2:36 PM
  • m. croche: Not sure whether anybody has yet mentioned the Lunar New Year. If not, to celebrate the Year of the Monkey, I’ll share... 2:35 PM
  • Often admonished: httpv://www.youtub e.com/watch?v=40V5 P5iTs4Q 2:33 PM
  • chicagoing: I was able to tune in for quite a bit of the opening night broadcast of Der Rosenkavalier, and although I have complained... 2:08 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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