Cher Public

  • Poison Ivy: Just a wild guess: she can no longer sing it to please her own standards. 1:55 PM
  • phillyoperalover: Why did she drop Cio Cio San from her rep? She was very good in it. Going into heavier rep? 1:19 PM
  • manou: Immediate photographic evidence required. 1:10 PM
  • Poison Ivy: No, Hong is replacing Racette, who;s dropped Cio Cio San from her repertoire. 1:05 PM
  • steveac10: Morris is only scheduled for Timur and Lodovico. I’ve noticed the artist pages on the new site are still a mess. He... 12:58 PM
  • phillyoperalover: 1) I called Kelsey dropping out since the very beginning when they said he was going to do it. He needs time to rest,... 12:49 PM
  • JohninSeattle: For those of us who suffer with beauty so powerful it’s fatal, I am empathetic to the plight of Eboli. 12:25 PM
  • Poison Ivy: I don’t think the TBA’s are being held for Poplavskaya. If they were then they’d be announced as such to... 12:23 PM

When I have sung my songs

Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.  After her Met run in 2010, she has made various stops in the role, including this 2013 Wiener Staatsoper production, released by Unitel Classica and directed for video by Brian Large, and she will bring her Countess to Chicago and Dresden in the coming months.  The role certainly suits her natural elegance and charm, and sits well in her current vocal estate.  Read more »

Juan and two

I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written. The first act is a masterpiece of the operatic canon. There’s sex, there’s danger, there’s suspense, there’s humor, and there’s absolutely great music. And there’s also a wonderful sense of ambiguity—for instance, what exactly is Don Giovanni doing in Donna Anna’s bedroom? is it a rape, or something else? Is Zerlina really just a naive young thing? “Batti batti bel Masetto” has such an artificial, coy feel to it that you have your doubts. All of these events converge in the suspenseful Act One finale.   Read more »

The dark side of the moon

One of my favorite terms to use to describe productions nowadays is “regie lite.” Regie lite productions dominate Glyndebourne, Salzburg, and increasingly, the Metropolitan Opera. Traditional stage directions are tweaked, periods are reset, but not in a way that radically deconstructs the work. If hardcore “regie” directors do a Michael Jackson total-deconstruction makeover on the opera, regie lite productions do a, well, Nancy Pelosi botox session. After viewing a new DVD of Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.” Read more »

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Speer pressure

One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.

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Bomb scare

The appeal of Ariadne auf Naxos (for me anyway) is the acknowledgment that underneath it all, opera (and all other forms of “high art”) is really show business.

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Final chapter

None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.

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Rich man’s frug

A good performance of a Rossini opera buffa usually bubbles along merrily.

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Shopping season

After a long summer drought, suddenly new Blu-ray and DVD releases are falling, as it were, from the sky.

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Lost in space

It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.

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We have always slept in the castle

For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.

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