Meeting Rigoletto

I have a confession to make. I have been taking Rigoletto for granted.  Read more »

Every day a little death

Christoph Willibald Gluck was one of the first composers, along with his favored librettist Ranieri de” Calzabigi, to attempt to reform opera into a complete artwork. The ideal was a seamless fusion of music, drama, singing, and dance with a clear plot based on classical ideals. He’d already written nearly 25 operas by the time his Orfeo ed Euridice premiered in Vienna in 1762 starring the alto Gaetano Guadagni.  Read more »

Untouched by an angel

A bandit on the run.

Los Angeles Opera is the latest company to jump in on that cr-razy trend that sweeping the nation: boring the public to death. The dire details follow the jump. Read more »

Babylon revisited

What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?

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Diver gent

Georges Bizet’s Les pêcheurs de perles has been knocking steadily at the door of the standard repertoire now in this country for quite some time.

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In her role debut as Carmen, Ana María Martínez gets lost in the shuffle.

Carmen denominator

When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.

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From the sublime to the stentorian

W.C. Fields used to have a funny trope about in show business you should never work with children or animals. To that list should perhaps be added the soprano Anna Netrebko.

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Crate expectations

Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca. 

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The gala lilies are in bloom again

Saturday night the Los Angeles Opera threw itself a party.

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Tales that witness madness

Jacques Offenbach’s Les contes d’Hoffmann has had a bumpy ride to its pride of position in the current French repertoire.

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