The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain. That’s not because the Stefan Herheim production is particularly abstruse but rather, on the contrary, because at least at first viewing it seemed relatively straightforward. On the night, I was a little disappointed because I expected something more challenging. Read more »
A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order. Ideally, a binge of opera should be programmed as carefully as a concert: something light to start, alternating demanding and less-demanding works, a big whopper of a show next to close, and then, you know, something encore-y to wind up. 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 »
In the cult TV comedy Schitt’s Creek, there’s a scene in which the penniless socialite Moira Rose (the scintillating Catharine O’Hara) is offered an acting job, a commercial promoting a small-town winery’s ghastly fruit-based wine. “It’s our Cabernet Merlot Petit Grenache,” the vintner boasts, to which Moira gamely replies, “Sounds delightfully busy.” Read more »
The first stop on The Cieca and Dawn Regietournee 2015 is the Stuttgart Opera.
Your doyenne and her faithful confidante Dawn Fatale are off later this week for a safari, seeking the wild Regie in its natural habitat.
“It’s fortunate that Lulu at Den Norske Opera was the last stop on the ‘Regietournee,’ because honestly anything after that would have amounted to an anticlimax. If there is a more brilliant director working in opera today than Stefan Herheim, well, maybe I shouldn’t see any of his work, because it might be too much for the human brain to absorb.” [Rough and Regie]
“In New York… opera directors don’t matter so much. In Europe, it’s another story: There, the director’s curtain call provokes the wildest excitement of the night.” The long-awaited “Regie” piece by Our Own JJ appears in the New York Post.
Our own JJ (not pictured) has finally begun to unburden himself on the subject of the recent, much-discussed “Regietournee.” For reviews of Die Entführung aus dem Serail, Rusalka and Cosi fan tutte in Berlin, please go to Musical America‘s Rough and Regie. (Photo: Monkia Rittershaus)
The world has come to an end and we are at the end of the world, the collapsed ruins of a bridge that can no longer be crossed. There is no greenery; the few trees that are left are dead and being chopped down for fuel. Shell-shocked survivors wander through this hellscape, fighting over the scraps of whatever is left. This is the milieu of director Calixto Bieito’s Parsifal seen at the Stuttgart Staatsoper on Sunday March 20.