The Metropolitan Opera desperately needed a new production of Le nozze di Figaro. The old Jonathan Miller production in its last revival had degenerated into a freakshow. My most vivid memory is the fingernails-on-chalkboard Susanna Mojca Erdmann simpering on the apron of the stage as the libretto called for her to be frantically shuttling Cherubino out of the Countess’s window. It was pure filth. Read more »
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.
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.