Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress during a concert performance of Handel’s neglected early opera Teseo by the Philharmonia Baroque given during its second visit this summer to the Mostly Mozart Festival. Read more »
“Imagine, if you can, sitting in crisply-pressed linen, sipping a perfectly chilled strawberry mojito wafted to your sidewalk table by a ravishing server, as you listen to the murmur of leaves without even the echo of a car radio or a cranky child’s whine to mar the tranquility… and, while you’re at it, throw in a sumptuous sky display as the evening sun sets over the Hudson River. Now set the whole experience to music by Handel, and you’ve got an approximation of Mark Morris’ staging of Acis and Galatea at Lincoln Center. It’s everything good about summer condensed into two hours.” [New York Observer]
In recent years the enterprising Dell’Arte Opera Ensemble has brightened the usually arid weeks of August in New York City with some worthy operatic showcases for young singers. This year’s “A Summer of Shakespeare” opened this past weekend with an ambitious and satisfying production of The Fairy Queen, Henry Purcell’s glorious if challenging gloss on A Midsummer Night’s Dream at the East 13th Street Theatre right behind Union Square. Read more »
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?
“Who will dare dance with me the ancient Dagger-Dance of the Californians?”
For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.
The Salzburg Festival has long had the image of this place where for a little over a month, the very best singers are brought together with the very best conductors and the very best directors to create the very best productions the opera world has to offer.