Long before Kupfer, Herheim, and Bieito, Ponnelle was doing things like staging Wagner’s Dutchman as the dream of The Steersman, the minor character in the opening (gasp), giving Santuzza a baby bump in Cavalleria (a slew of gray-haired ladies in the founder’s circle just fainted), and leaving Liu’s dead body onstage for the remainder of the last act of Turandot and then revealing the Principessa in a hot pink negligée after Calaf’s kiss (I can still hear the critics convulsing from here). Read more »
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation. When two world-class singers premiere roles on the same night an operatic apoplexy is not unknown amongst the devoted. The theater’s infirmary stockpiles tranquilizers and the bar enjoys a brisk trade in all manner of festive libations. Now, gently fold into this mix one of the world’s greatest conductors who hitherto hasn’t shown much love to the Italian wing and then a stage director with a touch for the deranged and all bets are off. Read more »
Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,” La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while. Its popularity dwindled after its initial, and wildly successful, premiere at the Metropolitan in 1910 starring Enrico Caruso, Emmy Destinn, and Pasquale Amato and conducted by Arturo Toscanini. Since it was the first new opera commissioned by the Met it generated a lot of excitement in the media and with the public. Critics mostly fell over themselves for the glories of the music, mise en scène (real horses on stage!), the singing and conducting. Read more »
With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
I am certain that we Parterrians are a very literate, even literary, group.
Once again, beloveds, we approach the Milanese shrine that simultaneously attempted to cultivate and destroy the career of Maria Meneghini Callas.