“We want to figure out how to create a nationwide change in how people think opera can be done.” So say the stepsiblings who are already well on their way to revolutionizing opera in New York. [Observer]
“The celebrated ‘Triumph’ scene… borders on homoerotic porn with its masses of buff extras in skimpy uniforms. (The Met then immediately loses the gay audience when the spoils of war are revealed to be no more impressive than the merchandise of a Kirstie Alley-era Pier 1.)” [Observer]
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
“Michael Grandage’s staging of Don Giovanni, DOA when it premiered five seasons ago, served as a vehicle for the return to the Met of Simon Keenlyside after two years of various infirmities. . . . He towered over the listless supporting cast like Daniel Day-Lewis guest-starring in a marionette show.” [Observer]
“Just as every downtown shopping street in every major American city now features the same familiar retailers’ names, New York City Opera has no particular artistic identity different from, say, Opera Carolina.”
La Cieca (pictured) asks, what are your eight (or even 10) can’t-miss opera events for the fall?
An aging eccentric—who has for decades occupied a dubious place on the fringes of New York’s musical life—today saw a lifelong dream fulfilled.
Anna Netrebko and Latonia Moore (pictured) rekindle “The Grand Opera Buzz.”
“Friday night’s triumph may well leave the Met’s management wondering how it let such a gem slip through its fingers.”
“Mr. Eyre’s production… was just another in a series of ugly, gargantuan stagings signaling the Met’s endemic lack of imagination or artistic ambition.”
New York City Opera Renaissance’s Tosca “was opera at its most retrograde, an effort to recreate a golden age from a handful of tinsel.”