The Leonard Bernstein centennial is fast approaching my friends and by August of 2018 arts organizations worldwide will have unleashed a blitzkrieg of Lenny unto a (hopefully) indebted and (likely by then) musically exhausted public. The first shot across the bow appeared over the weekend from L.A. Opera with their inspired concert staging of his musical-comedy bouquet to New York, Wonderful Town. Read more »
We live in magical times. The box set, which was once a hotly over-priced commodity, has now become the preferred vehicle for reissuing the classic operatic recordings of yore, polished to a high digital shine and at midrange prices to boot! Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
Macbeth has always been my favorite of Shakespeare’s plays. One of the many reasons for this is that it is his most succinct (read: shortest) of all his works. The characters get right down to work immediately with their foul deeds. Read more »
The Teatro di San Carlo in Naples is a pearl itself and this presentation proffers some of the best that company has to offer.
The Hollywood Bowl is truly the preeminent musical venue in Los Angeles.
Los Angeles saw the first U.S. performance of Giacomo Puccini’s snow-dusted weeper in 1897 just a year after the young Toscanini led the prima in Turin.
Giuseppe Verdi was so unhappy with the first production of his Giovanna d’Arco at La Scala in 1845 that he swore an oath to himself that he would never entrust that theatre with a prima again.
Los Angeles first saw Giacomo Puccini’s Madama Butterfly presented at the Mason Opera House downtown in 1908 by the English Grand Opera Company. Rumors that LA Opera Artistic Director Placido Domingo portrayed Cio-Cio San’s little boy in that production remain unsubstantiated.
There was a general feeling of homecoming in the hall on Friday evening in anticipation of what promised to be a special return visit on many levels.
The revival of Mozart’s The Magic Flute at the Music Center downtown, last seen at LA Opera in 2013, is reason for jubilation for everyone except perhaps the singers engaged.