Yesterday we pondered two videos of Tristan und Isolde from the 20th century. Now let us move on to a performance that is definitively of the 21st. Patrice Chéreau, the humanist in provocateur’s clothing, returned to Wagner in 2007 at La Scala with Daniel Barenboim and Waltraud Meier. The three had first collaborated, memorably, on Berg’s Wozzeck more than a decade earlier. Read more »
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams in which, from the first to the last, love shall, for once, find utter repletion. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable, and with the ‘black flag’ that waves at the end I shall cover myself over–to die.” Read more »
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 »
For all their orchestral and vocal attractions, Nikolai Rimsky-Korsakov’s 15 operas are rarities in the West. If The Legend of the Invisible City of Kitezh is staged in an upcoming Met season as rumored, it will be the theater’s first representation of the composer’s music since 1945 (The Golden Cockerel), and it took The Tsar’s Bride 112 years to make it to Covent Garden.