Leave it to the New York Times to present a hard-hitting, no-holds-barred debate on the explosive subject of race in the theater, with Anthony Tommasini and Ben Brantley boldly in agreement throughout.
“The cast, to a member, embraces every chance…” Anthony Tommasini goes to Brokeback Mountain. [New York Times]
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.
“The title character in Barber’s Gothic melodrama Vanessa, a self-deluded, manipulative older woman, ‘keeps coming up,’ Ms. Voigt said.” [New York Times]
La Cieca spies spotted the New York Times‘ Anthony Tommasini at the opening of the Salzburg Meistersinger, which indicates his review should be appearing by tomorrow at the latest.
Anthony Tommasini and his long-time partner Ben McCommon were married on Friday.
For decades New York City Opera was a model of an organization with a clear mission.
“The Met’s new Ring is the most frustrating opera production I have ever had to grapple with.”
Just in time for the beginning of the first cycle of the Robert Lepage Ring (pictured), Peter Gelb tries to convince Anthony Tommasini that everything is just fine, thank you…
In honor of Martin Luther King day (belated), the New York Times hosts a discussion about the current Broadway production of The Gershwins’ Porgy and Bess. As a bold gesture toward diversity and inclusion, the keynote speakers range from Anthony Tommasini to Ben Brantley.
Is Peter Gelb wearing too many hats? Anthony Tommasini seems to think so, adding that one of those headpieces in particular is ill-fitting and might perhaps more flatteringly perch upon some other head. Call La Cieca suspicious, but she thinks the timing of this piece is hardly an accident.