Our Own JJ’s muse Dorothy Bishop returns to New York’s plush Metropolitan Room tomorrow night with another edition of her “Dozen Divas” revue, featuring 12 diva impressions in the breakneck course of a single 70 minute show. Read more »
Fellow parterrians, my review in the Observer of this year’s PROTOTYPE festival does not appear until Wednesday, by which time their presentation of the absolutely remarkable contemporary opera Dog Days will have closed. There are still tickets available for Monday’s closing night at the Skirball Center at NYU, and if you can at all be there, you must be there. As you will read next Wednesday, “After more than two hours of emotional pummeling from this magnificent opera, I felt like I’d been through an apocalypse myself.” Read more »
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.
Among a trio of contemporary operas, Our Own JJ confesses he just doted on Heartbreak Express, but “You Us We All was not my cup of twee.” [New York Observer]
“Everyone complains about how there is no great singing in opera anymore, but last week’s performances suggest that’s not so. The singing today is mostly fine; it’s everything else that’s the problem.”
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
Part of what makes opera seem, at least, a camp art form is that fans of the genre have such inconsistent taste.