Cher Public

  • Camille: Let me know about Le Mage, Monsieur NPW, whenever you will have come to any conclusion about it. It’s just I wonder why it... 3:20 PM
  • Greg.Freed: I had hoped there was a document of this! Thank you! 3:04 PM
  • NPW-Paris: Double damn. “Hasn’ t been said yet.” 3:02 PM
  • Camille: “So ist es gesprochen, und so geschiet es.” 2:58 PM
  • NPW-Paris: “Maybe if I wrote things down.” One of the reasons I started doing it was because I couldn’t remember who... 2:57 PM
  • NPW-Paris: That’s the one I have. Another work that could usefully replace the umpteenth La Bohème on our schedules. 2:54 PM
  • NPW-Paris: Le Mage playing now. 2:48 PM
  • Camille: Thank you PCally for all the information on Lulu, much appreciated. I will make sure my Lulu Liebhaber checks out a lot of these... 2:48 PM

Ardori inospiti

As the ever-constant pendulum of taste and trend fluctuates so follow the production styles at our grander opera houses and nothing, it seems, says it clearer than a new mounting of Aida. At La Scala the famous Franco Zeffirelli collaboration with Lila de Nobili of 1963, with all its painterly realism, gave way to Pier Luigi Pizzi’s bolder geometric stylization a decade later. No surprise that the most recent Egyptian voluptuary of 2006 by our friend Franco has now been replaced by the most singularly spartan production of Verdi’s masterpiece I think I’ve ever seen. 
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Gli enigmi sono due

Giacomo Puccini’s final opus interruptus is and shall always remain my favorite opera. The reasons for this preference are so varied and numerous that if they were printed and bound the volume would most assuredly require its own stand.
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La farsa del destino

There might be nothing in the world as joyous as a Rossini overture. Il Signor Bruschino is considered one of Rossini’s minor works but about 30 seconds into the overture you are officially in “Rossiniland” (the theme of this new video staged by the Pesaro Rossini Opera Festival in 2012). The violins tap the orchestra stands in a persistent knocking sound and the piece just bubbles along until its inevitable accelerating crescendo.
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Battle of the network tsars

For all their orchestral and vocal attractions, Nikolai Rimsky-Korsakov’s 15 operas are rarities in the West.

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Money on the dresser

“Hailed ‘the Meryl Streep of opera’…” begins one sentence of a promotional piece for a Diana Damrau recording of another opera, reproduced on the soprano’s website.

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Slash by night

Enthusiasts of Janácek’s opera will want to pick up this video immediately.

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Poor wan Rusalka

The winter 2014 final run of the Met’s first/only Rusalka production (a new one is scheduled in a few seasons) seemed both a nod to the theater’s past and a hint of its future.

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Tanks a lot, but no tanks

The production by Sebastian Baumgarten is the type of regietheater that’s not a rethinking or reconstruction, but just a hot mess.

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Rolling along

You might be surprised, though, when that title turns out to be Show Boat.

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d’Arc victory

Tonight’s program at the New York Philharmonic, Arthur Honegger’s massive oratorio dramatique Jeanne d’Arc au Bûcher, has been an occasional visitor to the orchestra’s repertoire starting with the performance conducted by Charles Munch in January of 1948.

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