“New York is great. Opera is great. They deserve each other. So what can we do to get them together? Who can show us how it’s done? We need to ask the Germans.” [New York Observer]
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does. In this Barrie Kosky staging, we begin by seeing what appear to be dots and slashes blinking on the black front scrim. Gradually these shapes seem to resolve themselves into characters, words, phrases, and humans being human, we are trying to find a pattern and a message among the randomness. When that message finally presents itself, it’s not at all what you might expect, at least not in connection with this opera. Read more »
Your doyenne and her faithful confidante Dawn Fatale are off later this week for a safari, seeking the wild Regie in its natural habitat.
At last, the quintessential targeted reader of parterre.com has been identified.