It’s a romance but it’s not all about love. It’s a comedy but not everyone’s laughing. It’s a place where the one thing you can expect is the unexpected. The place is… Philadelphia? Read more »
I just arrived back from Stella di Napoli’s. No, not an Italian bistro in the suburbs, but rather the title given to celebrated mezzo-soprano Joyce DiDonato’s recital programme of rare bel canto gems. Read more »
Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years. After her Met run in 2010, she has made various stops in the role, including this 2013 Wiener Staatsoper production, released by Unitel Classica and directed for video by Brian Large, and she will bring her Countess to Chicago and Dresden in the coming months. The role certainly suits her natural elegance and charm, and sits well in her current vocal estate. Read more »
For those who like their Handel loud, with no forfeit of baroque finesse, one promising solution is to make the hall smaller.
Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.
After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.