“Nicholas Hytner‘s ENO production of Xerxes, unveiled on the 300th anniversary of Handel’s birth and packed with visual conceits, might be seen as marking the beginning of the modern Handel renaissance on stage.” Where else but Opera magazine (“The Regietheater Issue”)?
“It’s often said that Verdi wrote [Violetta's] music with three different voices in mind: a light, leggero soprano for the first act, a lyric voice for the second and a dramatic for the third.” [Chicago Tribune]
Please forgive the lateness of this week’s howler, which in any event is something more of a squeaker anyway. Opera Britannia writes, “To make matters worse, when Tosca appears on the ramparts in Act III, she’s clearly had time to nip home and change her clothes into a nice little black number, with purple gloves!” Read more »
This week’s canard is contributed in by the artistic director of Gotham Chamber Opera, Neal Goren.
“Modern opera studiously avoids anything so old-fashioned as melody or emotion, which seems to me a contradiction of what music is all about.”
This week’s canard is inspired by recent sad news here in New York, and it goes something like this…