Cher Public

  • chicagoing: Statement from Deborah Voigt about upcoming schedule (from her web site); Recent announcements from Florida Grand Opera and... 10:27 AM
  • NPW-Paris: Their latest issue is Gounod’s Cinq-Mars, with Mathias Vidal, Tassis Christoyannis, Véronique Gens, etc., and the Münchner... 6:44 AM
  • NPW-Paris: And later the Opéra Comique joined in, and the Palazzetto Bru Zane with some very interesting recordings. 5:39 AM
  • redbear: It was a continuing chapter in the French rediscovering their own musical history and it is one of the great stories of my... 4:39 AM
  • manou: Kurzak has this pronounced widow’s peak (think evil Queen in Snow White) and they did replicate it quite well with the wig,... 4:22 AM
  • NPW-Paris: It was in February 2007 at the Bastille, with Anick Massis, Anna-Caterina Antonacci and Chris Merritt, and yes, the blog has a... 1:33 AM
  • zinka: 26:52 is the duet….. 12:38 AM
  • zinka: httpv://www.youtub e.com/watch?v=a7kN -KxKL7w LEYLA!!!!!!!!!!!!! !!!!!! Papian was chest-less when I saw her..She is... 12:37 AM

Imagined possibilities

PatienceIn a lecture from 1976, Michel Foucault defined the term subjugated knowledge as “historical contents that have been buried and disguised in a functionalist coherence or systemization.” I have often thought of this term—subjugated knowledge—when thinking of queer history—the various methods of coding and decoding that propel a certain type of work within the artistic canon. An elliptical, strange kind of surfacing. For example, is it fair to consider Oscar Wilde’s Dorian Gray a gay man? What about Sebastian and Charles in Brideshead Revisited? And what to make of Christopher Marlowe’s Edward IIRead more »

Ezio said than done

EzioGluck composed Ezio for the Carnival in Prague in 1750, a dozen years before he entered his so-called “reform” era. The piece was a hit for a year or two, then (as was usual) forgotten, its music available for judicious recycling. But its success was no freak: This is an exciting score, waiting for the properly schooled forces to restore it to the stage. There have been several happy European revivals lately but none in America.  Read more »

No contest

tannhauser amazonRichard Wagner viewed dance as an essential element of art, though he used it sparingly in his operas. The bacchanal he put in the 1861 Paris version of Tännhauser was supposed to depart from classical ballet and serve up an orgy of motion, with figures assembling and reordering themselves, not unlike the physical manifestation of a symphonic poem.

One wonders what he’d make of Staatskapelle Berlin’s 2014 production, now on BelAir Classiques. Director Sasha Waltz’s sweaty pileup of writhing bodies in the opening tableau serves as the jumping off point for a fully choreographed opera in which dancers weave around and through the scenes with sweeping gestures, arresting poses and sometimes sophomoric mimed responses to what’s being sung.  Read more »

Ory 2

Think pink

LoftOpera offered an unusually satisfying, immensely entertaining production of Rossini’s scintillating portrait of an inveterate seducer.

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New York Philharmonic's Biennial 2016:  The Importance of Being Earnest by Gerald Barry, conducted by Ilan Volkov and directec by Ramin Gray with members of the New York Philharmonic at Rose Theatre, 6/1/16.

There ought to be clowns

Have you ever had the unfortunate experience of listening to someone tell a joke badly?

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Levine

Just a song at twilight

“Mr. Levine was conducting his beloved Wagner for what was almost certainly the last time.”

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Carmen 1

Incomplete mountain pass

The big news on Van Ness Avenue, it goes without saying, is Calixto Bieito’s operatic debut on these shores.

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Levine

Trauermarsch

I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall.

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forza_amazon

Cross purposes

“Has anyone ever seen a truly great production of this opera?”

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Gott

A choice, not an ecosystem

Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.

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