A cynical member of Generation X, Louisville native Todd Koenig rejected a society that told its youth the answers could be found in the MTV video games. His exploration of 20th-century popular music led to a study of piano and a love of jazz. In his twenties, he began to listen to classical music – first symphonic works, chamber music, and keyboard literature, then song cycles, masses and oratorios. Five years into that period, he ventured into one of the few remaining uncharted territories: opera. He has familiarized himself with the standard repertory and much outside of it, and has advocated the art form to friends his age or younger who love music and theater. Since September 2015, as “Porgy Amor,” he has written reviews, history and think pieces (sometimes all at the same time) for parterre box. The opera he loves above all others is Verdi’s Falstaff, which he has described as the work of a very old man, with which a listener can grow old.
With today’s conclusion of a selected Rosenkavalier video overview in three parts, we leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs. All three of the remaining performances reflect a modern trend toward setting Rosenkavalier in a less distant era, that of the opera’s premiere or a decade or two thereafter. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Yesterday’s first installment of a selected Rosenkavalier video overview covered two classic filmed performances, one from the 1960s and one from the 1970s. Today’s continuation closes out the 20th-century selections, crosses the millennial mark, and includes the first of our performances to depart from the opera’s prescribed 18th-century setting. Read more »
“Time is a strange thing,” the lady observes, to a young man who cannot begin to understand what she is talking about.
“In my music, there’s not repetition. Something is always going on.”
So, how excited are you to read another piece about the Mary Zimmerman Rusalka?
The subject of timidity has been in my thoughts in these waning days of February 2017. One would almost think there had been some big announcement recently, preceded by a series of smaller ones, to turn a U.S.-based opera fan’s thoughts in this direction.
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.