“Has anyone ever seen a truly great production of this opera?” asked Parterre’s Jungfer Marianne Leizmetzerin last November, in the course of sharing audio from an excellent 1974 Vienna Forza del destino. Marianne received few nominations in follow-up comments. When we talk of great Traviatas and great Falstaffs, it is likely we mean the direction and design teams contributed to the greatness. When we talk of great Forzas, we usually mean they did not get in the way. There was great singing, perhaps great conducting, and what was framing the musical performance was not ruinously bad. Read more »
La Cieca reminds the cher public (pictured) that The Fiery Angel, webcast live from Munich, begins shortly (at 1:00 PM ET, actually.)
An intimate concert on June 2 features highlights from little OPERA’s recent production of Slow Dusk & Markheim, along with other selections from composer Carlisle Floyd‘s remarkable body of work, including Willie Stark, Of Mice and Men and a glimpse at Prince of Players, Floyd’s new opera which recently premiered at the Houston Grand Opera. Read more »
A Court of Appeals in Paris has ordered BelAir Classiques to remove from its catalog a video recording of Dialogues des carmélites as staged by Dmitri Tcherniakov for the Bayerische Staatsoper on the grounds that the production is a “betrayal” of the intentions of Georges Bernanos and Francis Poulenc. Read more »
The opening night of the Bayerische Staatsoper’s new production of Aïda, featuring Jonas Kaufmann in his staged role debut as Radamès, was captured informally on audio, and can be heard in full after the jump.
“This is obviously a difficult situation. But who knows Hans New Rock, knows his cool and objective aesthetic decision.”