Cher Public

  • lorenzo.venezia: @ redbear: The issue isn’t what we think of Wagner as a dramatist. The issue is that Wagner’s music, text, and subtext... 5:36 PM
  • Camille: O! What eagle eyes you have to have swooped down on that one, MastroKruno! NO, am not referring to “Cruising 221;,... 4:06 PM
  • Camille: If there is anyone still considering going upstate to see this Iris, may I offer these two suggestions: listen first to the... 3:39 PM
  • Krunoslav: ” In fact, Mr McKinney’s singing; of which I’ve just heard the fist act” Oh, is it THAT kind of production? Any... 3:12 PM
  • Camille: Jungfer Because a girl’s duenna comes first, I am disobeying the edict to be die schweigsame Frau: (Monsieur Camille is... 2:06 PM
  • Camille: I read a part of TT’s book report summary and do not recall him even mentioning the excellent Kundry. In fact, Mr... 1:58 PM
  • Camille: Bluecabachon– ;I left and then you came in and now you left? So I’m leaving as there is nothing to talk about this... 1:45 PM
  • PCally: The Karajan has Rysanek and Ludwig. Nilsson didn’t add the opera to her rep until the mid-1970s, by which time... 1:11 PM

Everything is illuminated

Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival. The subject line of the email I received from Lincoln Center promoting its US stage premiere went so far as to proclaim it “the opera you’ve been waiting for!” The excitedly expectant audience that filled the former New York State Theater Tuesday evening hailed it with a loud and prolonged ovation, but the intensely complex 90-minute work proved easier to admire than to love.   Read more »

Practical magic

Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress during a concert performance of Handel’s neglected early opera Teseo by the Philharmonia Baroque given during its second visit this summer to the Mostly Mozart Festival.  Read more »

A boozy short leave

After 23 years, the Queen of Carthage has finally made it to Manhattan. On Wednesday night, Lincoln Center’s Mostly Mozart Festival hosted the Mark Morris Dance Group’s acclaimed 1989 production of Purcell’s Dido and Aeneas at the Rose Theater, and Morris who created the double role of Dido and the Sorceress for himself and danced it exclusively for over a decade was there–this time as conductor–with Stephanie Blythe singing the two roles from the pit as she had done last fall in Berkeley.   Read more »