“Mr. Luisi won praise replacing Mr. Levine time after time, particularly in a costly version of Wagner’s Ring cycle—though, perhaps in a sign of the situation’s delicacy, the two conductors have never met in person.” [New York Times]
“Disciplined and intelligent.” “Clean and transparent.” “Fleet and lithe.” Though Fabio Luisi’s Wagner performances draw frequent praise for their tidy professionalism, there’s often an undercurrent of frustration with the Genoese maestro for not wringing a little more blood out of the scores, or putting a personal stamp on them. Frequent work in the house where James Levine reigns has a way of creating invidious distinctions, even when clear vision and tasteful restraint can be welcome virtues. Read more »
At the Opernhaus Zürich, the coat check is not optional. A collective hush extends throughout the hall just before the dimming of the lights. And it may be the last opera house in the world where the overwhelming majority of patrons still dress in formal attire; I have never felt like such a slob in my khakis and untucked shirt. Yet the pomp is not without reason; I do not believe there is another opera company in the world that maintains such impressively high musical values while performing in a fairly intimate space with stellar acoustics. Read more »
Newton’s Third Law of Motion states that for every action there is an equal and opposite reaction.
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
La Cieca has been wining, dining and otherwise wooing her Met connection (pictured above) and he (or is it she?) has come across with some tidbits about upcoming seasons at Casa Gelb.
La Cieca thought it would be amusing to do a bit of speculation about what’s to come as we approach the middle of the decade.
No, not a Regie quiz—though that feature will return soon enough now that the season is up and running—but rather an image from the new Dmitri Tcherniakov production of Jenufa for the Opernhaus Zürich.