According to my taste, Die Fledermaus is an intoxicating opera—perfumed with nostalgia, redolent with sweetness, and suggestive of transport. Maybe it’s the waltzes, the ornate costumes, and the farcical sleights-of-hand? It’s all so easy to swallow, warm and comforting in the belly like smooth wine. Read more »
Last night I saw a production of La bohème that made me realize something: call me old fashioned, but when I go to the opera, I go to hear beautiful singing. This is because quality singing is the only practice that opera does better than any other popular discipline. Sure, there is good singing to be found in the recital and concert hall, but for me the real blood-and-guts singing has always remained within the opera house. Read more »
Monteverdi’s L’incoronazione di Poppea (The Coronation of Poppea) is opera on the grand scale with mellifluous arias and breathtaking duets that tell a tale of ancient Roman political machinations, adultery, and murder in which there is no true protagonist. This stunningly expressive music is performed by an all-star cast. Soprano Miah Persson, praised by The New York Times for her “sumptuous sound and elegant lyricism,” is joined by singers who have all won worldwide critical acclaim for their mastery of this beautiful repertoire. The Guardian wrote that “there are few performers better-versed in the music of Claudio Monteverdi than Rinaldo Alessandrini and the ensemble he founded 30 years ago, Concerto Italiano.” Alessandrini and company anchor a performance that promises to be one of the season’s most thrilling nights of opera.