Three blocks from the opera house is a terrible time to realize there was homework. And yet, there I was at Larkin Street or so when I remembered that Two Women was based not only on a movie (or rather, on the same novel as that movie) but on one that is apparently beloved of Italians, featuring the most glamorous star of the Italian cinema. Indeed, in her interview with David J. Baker, Anna Caterina Antonacci goes so far as to say that every Italian of her generation has seen La Ciociara “at least three times.” Ah well, I thought. I’ll wing it. Read more »
Christine Goerke is the Prima Donna in this scene from Francesca Zambello‘s Glimmerglass production of Ariadne auf Upstate New York, and Did I Mention That the Komponist is a Dyke? (Photo: Karli Cadel / The Glimmerglass Festival)
“Superstar soprano Deborah Voigt and powerhouse opera and theater director Francesca Zambello, friends for over 25 years, came to 92Y to talk opera, inspiration, artistry and friendship.” Read more »
On Wednesday, April 23rd at 8:15 PM, renowned soprano Deborah Voigt and opera and theater director Francesca Zambello, friends for over twenty-five years, join to discuss opera, inspiration, artistry and friendship.
What, you might ask, could a middle-of-the-road middlebrow stage director add to this monumental chef-d’oeuvre?
June Anderson will make the transition into the “Anne Revere” segment of her career next summer when she sings the role of Elvira Griffiths in Tobias Picker‘s An American Tragedy at the Glimmerglass Festival.
It was dear Oscar Wilde, wasn’t it, who devised that early mot du jour “Good writers borrow; great writers steal”…
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by an absence of dumb bombast and a gain in intimacy and character definition. I don’t know how well that last factor would hold up in a revival director’s hands, but on the whole she made the approach pay off handsomely.
The multi-slashed Manuela Hoelterhoff (Bloomberg editrix/spouse to disgruntled New York City Opera intendant manquée Francesca Zambello/grouch emeritus) dipped her goose quill in venom this morning once again to take on her favorite subject, i.e., how NYCO has gone to hell in a handbasket ever since they didn’t hire her girlfriend to run the place.