In his excellent book Humiliation, Wayne Koestenbaum describes why he likes to watch clips of Liza Minnelli on YouTube: “I want to see her humiliation,” he writes. Read more »
The Leonard Bernstein centennial is fast approaching my friends and by August of 2018 arts organizations worldwide will have unleashed a blitzkrieg of Lenny unto a (hopefully) indebted and (likely by then) musically exhausted public. The first shot across the bow appeared over the weekend from L.A. Opera with their inspired concert staging of his musical-comedy bouquet to New York, Wonderful Town. 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.
Much like Wagner’s Tristan und Isolde, which launched the Met’s 2016-2017 season, Kaija Saariaho’s L’Amour de Loin is an opera about love and death. Read more »
It is a good rule of thumb that if you emerge from a massive grand opera like Aida feeling any less than overwhelmed, you have a right to be somewhat disappointed.
Operatic history can be cruel where multiple works with the same subject are concerned
Like our beloved Cubs, Chicago Lyric Opera is in the midst of a championship season.
Last evening’s scorching performance of Fallujah by the New York City Opera demonstrated that sometimes impact is not limited by physical proximity.
In one important respect, a great production of Puccini resembles a great production of Wagner.