WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007. The evening was to feature British soprano Catherine Foster, recently the Brunnhilde in that Soviet gangster energy politics Ring at Bayreuth. Unfortunately, she injured her ankle during a dress rehearsal last week and had to withdraw from Monday’s performance. On the other hand, her extremely luxurious cover turned out to be none other than Christine Goerke. Read more »
When Francesca Zambello’s production of Das Rheingold opened in DC a decade ago I was not a fan. Glibly described as an “American” or “environmental” Ring, it seemed poised to buckle under the weight of its own self-importance. If the actual production offered more than the elevator pitch implied, it still felt overly invested in shoehorning the Ring into some bigger scheme for dubious purposes, an exercise which quickly grew tedious in practice. Read more »
Pyrotechnics abound when Angela Meade stars in Opera Orchestra of New York’s production of Donizetti’s tragic love story, Parisina d’Este, conducted by OONY founder Eve Queler on May 4, 2016 at the Frederick P. Rose Hall at Jazz at Lincoln Center. OONY last performed this opera in 1974 starring Montserrat Caballé. The remaining cast features a group of young international artists including American tenor Aaron Blake in the role of Ugo, Chinese baritone Yunpeng Wang in the role of Duke Azzo, Serbian bass Sava Vemic in the role of Ernesto, and American Soprano Mia Pafumi in the role of Imelda. Don’t miss this thrilling, rare Donizetti gem.! Remaining tickets are on sale at the Jazz at Lincoln Center box office. Read more »
Giuseppe Verdi was so unhappy with the first production of his Giovanna d’Arco at La Scala in 1845 that he swore an oath to himself that he would never entrust that theatre with a prima again. His other vow was to never speak with the impresario Bartolomeo Merelli after he oversaw what Verdi considered a substandard mounting and then had the audacity to sell the rights of the score out from under him to Ricordi. La Scala waited twenty-four years, until the Italian revision of his La Forza del Destino, before he finally relented.
Read more »
This season’s Met Donizetti Tudor Trilogy concluded with Roberto Devereux, given its penultimate performance by HD transmission Saturday, April 16. It is good to see these works finally given here; they are too important, too crucial a part of the operatic repertory to have been ignored for as long as they have.
The no-star, slapstick revival of John Dexter’s 37-year-old production of Mozart’s Die Entführung aus dem Serail that opened Friday night proved James Levine’s tenure as Music Director of the Met will end in two weeks with neither a whimper nor a bang.
To be honest, I have never seen anything quite like Matthias Goerne in recital. He seemed so wonderfully free.
With six leads in Gioconda, you can reliably hope that three or four will be worth listening to, or why would they have revived the opera?
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
The haunted Mycenae of Patrice Chéreau’s enthralling production of Richard Strauss’s Elektra had seized its viewers in an unrelenting vise that never relaxed even at its quietly shattering conclusion.