“Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich. Read more »
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring. In a DVD from a deeply interesting 2014 production from Staatsoper Hamburg, we find a fascinating if flawed direction by Karoline Gruber, propulsive and insightful conducting from Simone Young and a breakthrough performance by Bo Skovhus in the title role.
Shakespeare’s Lear has been an important part of my acting career. I’ve had the great good fortune to perform in eight productions of King Lear (three Lears, two Fools, Gloucester, Albany, and the Duke of Burgundy) and the title role contains such depth and complexity that I’d love to play it again and again. I had real concerns about how this astonishing drama could be adapted into an operatic form. Read more »
On this day in 1832 Gaetano Donizetti’s L’elisir d’amore premiered in Milan.
On this day in 1965 the musical Flora, the Red Menace opened at the Alvin Theater in New York.
Theater an der Wien did justice to Bizet earlier this season with a cast starring Diana Damrau, Dmitry Korchak, and Nathan Gunn.
On this day in 1774 Louis XVI and Marie Antoinette became King and Queen of France.
The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain.
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.