“Marlis Petersen, in her first shot at the role, is as complete a video Violetta as Rosanna Carteri, Marie McLaughlin or the young Angela Gheorghiu, and as riveting as Teresa Stratas or Anna Netrebko.” [Opera News]
A colleague’s review of the Met’s Roméo et Juliette has reminded me that one thing that is killing opera is the practice of critics’ comparing the singers they heard last night to dead or retired artists they either remember for their distant youth or else on record decades ago.
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 »
Writes Heidi Waleson, “The new Lyric Opera of Chicago Ring cycle, which began with Das Rheingold on Oct. 1, reads like a reply to the many over-thought conceptual interpretations of recent years, especially the Metropolitan Opera’s giant ‘machine’.”
See, this is why I’ll never be the critic Heidi is. I sat through the Met’s Ring twice, and it never occurred to me that any thought had gone into it at all.