Cher Public

  • Sanford: Next Friday is July 10th, not the 11th. 11:27 PM
  • vilbastarda: Luvtennis, exactly my feelings. I feel very strongly about this, and powerless in the same time. “Ma voix se... 10:53 PM
  • vilbastarda: Hippolyte, at Caramoor did you attend Philip Gossett’s pre-show lecture? His jaw-dropping erudition, and contagious... 10:47 PM
  • Camille: The phantom disappeared but wait— Here he is again: httpv://youtube.co m/watch?v=sCYhLLbA Kx4 10:46 PM
  • Camille: Here is Pastiche High Heaven— httpv://youtube/sC YhLLbAKx4 10:40 PM
  • Camille: The 1943 version of The Phantom of the Opera, starring Claude Rains, Nelson Eddy, and the unfortunate Susanna Foster, will be... 10:18 PM
  • laddie: SIGH. 10:17 PM
  • laddie: 10:17 PM

Between the dragon and his wrath

Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring. In a DVD from a deeply interesting 2014 production from Staatsoper Hamburg, we find a fascinating if flawed direction by Karoline Gruber, propulsive and insightful conducting from Simone Young and a breakthrough performance by Bo Skovhus in the title role.

Shakespeare’s Lear has been an important part of my acting career. I’ve had the great good fortune to perform in eight productions of King Lear (three Lears, two Fools, Gloucester, Albany, and the Duke of Burgundy) and the title role contains such depth and complexity that I’d love to play it again and again. I had real concerns about how this astonishing drama could be adapted into an operatic form.   Read more »

Getting to know jews, getting to know all about jews

The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself. Read more »

Bum’s rush

“This season I’ve sat through some perfectly mediocre performances in the plush seats of Lincoln Center, and last weekend I was transported by one of the year’s most intriguing presentations while writhing in discomfort in a plastic folding chair.” Our Own JJ reviews Orlando and Early Shaker Spirituals in the Observer.

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The blue dream

It will come to no surprise to followers of the direction of Stefan Herheim (or to readers of La Cieca’s gushing fangirl appreciations of his work) that his Stuttgart production of Der Rosenkavalier was as “delightfully busy” as we have come to expect.

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Bare de Lia

On Saturday, a new company called Bare Opera gave its first performance, a double bill of Debussy’s L’Enfant Prodigue and Ravel’s L’enfant et les sortilèges, at the Robert Miller Gallery in Chelsea.

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Orlando Finale

Notes from the underground

Director R.B. Schlather and his team explored Handel’s Orlando and the results, as seen at Monday night’s final presentation, proved uncommonly stimulating.

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Nozze

She who gets slapped

All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.

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Hana Blazíková

Garden party

Many large opera companies these days host valuable young artist programs dedicated to helping singers negotiate the difficult transition between leaving the conservatory and becoming full-time performing artists.

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Grail mix

Contemporary stagings of Parsifal tend to be spare, abstract affairs scrubbed of religious associations, knights in armor and, sometimes, a grail.

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Roeschmann

Henry, sweet Henry

Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.

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