I have an idea (soon to be angrily debunked in the comments section) that Le nozze di Figaro is rarely a source of unalloyed bliss to the chronic operagoer. Read more »
“Geneticists use the term ‘hybrid vigor’ to describe the superiority of organisms that result from the breeding of vastly differing parents. For instance, the mule is more intelligent and more patient than its parents the horse and the donkey. When opera mixes genres, the results can be pretty vigorous, too—at least some of the time.” [New York Observer]
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece. Yet a few months before his death in 1816 at age 76 a young upstart from Pesaro premiered a competing version that would forever eclipse Paisiello’s. However, his Il Barbiere di Siviglia has never been completely forgotten and On Site Opera’s winningly effervescent revival which opened Tuesday night proved a delight. Read more »
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.