“Renée: ‘It’s a comedy, a farce, and I’ve become addicted to making people laugh’.” [New York Post]
Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise. Russell Thomas, in for Marco Berti, is a very fine Pollione, at once elegant and heroic—a rare combination even in these tenor-rich times with so many worthy lyric singers. Read more »
“Who knows what to expect from an opera about the Internet? But when Nico Muhly’s Two Boys evokes the complex mysteries of cyberspace in a series of shimmering choruses, it’s easy to think this is the most gorgeous music you’ve ever heard.” [New York Post]
“The queen of tabloid TV arrived at BAM Tuesday night in Anna Nicole, an opera brimming with wit and good taste. In other words, they got Anna Nicole all wrong.”
If you’re a hard-core opera buff who finds the Met’s flashy sets and costumes distracting, have I got a show for you!
Opening last night, the most buzzed-about show at the Lincoln Center Festival was inspired by a 16th-century Chinese folk tale of a sassy Monkey, who uses his magic powers and awesome kung fu skills to retrieve holy scriptures from India.
The question on everyone’s lips at Carnegie Hall was, “Is Jimmy back in form?”
Just like the pyrotechnics the heroine of The Firework Maker’s Daughter longs to create, this new opera for children is a delightful, low-tech throwback to a time before CGI took over the world.
The most sensuous sounds at the Met this week come from an opera with nary a love duet.
In Leos Janacek’s The Cunning Little Vixen, the heroine is shot and skinned for her fur.