A colleague’s review of the Met’s Roméo et Juliette has reminded me that one thing that is killing opera is the practice of critics’ comparing the singers they heard last night to dead or retired artists they either remember for their distant youth or else on record decades ago.
On Monday, the Met kicks off its 132nd season with a new production of Wagner’s Tristan und Isolde by Mariusz Trelinski, with Sir Simon Rattle leading a premiere cast of Nina Stemme, Ekaterina Gubanova, Stuart Skelton, Evgeny Nikitin and René Pape (not pictured). Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
If you’ve been following the coverage of the Nézet-Séguin succession, you will note that a good deal of the coverage centers on whether the incoming maestro will “champion” this composer or that, as we are assured that the sainted and revered James Levine did with, say, Debussy. Read more »
The 2017 Salzburg Easter Festival promises an intriguing blend of dramaturgy and necromancy “by attempting to re-create Karajan’s musico-theatrical vision of Die Walküre from 1967.”
The redevelopment that took place at Lincoln Center during Reynold Levy’s tenure as president of Lincoln Center represents a considerable accomplishment.
So, cher public, have you heard about this fabulous new plan to revive the New York City Opera under the direction of Michael Capasso?
In a press release that was obviously sent in 1985 and for some bizarre reason only just arrived an hour ago, Lyric Opera of Chicago has announced the production of a new Ring cycle with Sir Andrew Davis conducting and David Pountney directing.
“But like any production left out in the sun a few decades, it gradually faded into mere decoration.”