At the Opernhaus Zürich, the coat check is not optional. A collective hush extends throughout the hall just before the dimming of the lights. And it may be the last opera house in the world where the overwhelming majority of patrons still dress in formal attire; I have never felt like such a slob in my khakis and untucked shirt. Yet the pomp is not without reason; I do not believe there is another opera company in the world that maintains such impressively high musical values while performing in a fairly intimate space with stellar acoustics. Read more »
Newton’s Third Law of Motion states that for every action there is an equal and opposite reaction. This can be illustrated by two opposing kinds of opera fans: the kind who thinks that if it doesn’t happen in his backyard, it didn’t happen at all, and the other kind of fan for whom the grass is always greener on the other side of the fence.
The very small, very rich and very tax-free Opernhaus Zürich is often considered the Greenest Other Side of the Fence by opera aficionados who, well, don’t live in Zürich. They get the big stars before they become Big Stars (for everyone who heard Quinn Kelsey as Germont this fall/winter at the Met and thought he would be a wonderful Rigoletto, that was so two years ago in Zürich). They get the Big Stars who decide to only sing in Zürich (Cecilia Bartoli). And those tax breaks! It’s enough to make anyone mad with envy. Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »