“La Rondine, which began as a light Viennese operetta before being transformed into an Italian tearjerker, is not a natural diva vehicle, with its wispy emotions and clunky plot…. Yet despite the work’s slightness, Ms. Opolais seemed to live within it, growing in stature as the evening went on and radiating the kind of aura—one that demands that you watch her, and sympathize with her—that defines a star.” Once again, Zachary Woolfe nails it.
“So is opera as vibrant as ever, or is it hanging on by a thread? How to write the history of an art form that hovers, Schrödinger’s catlike, simultaneously alive and dead?” As we awaken from our holiday nap, what better reading to curl up with than a review by Zachary Woolfe (not pictured) of the new study A History of Opera?
“Alden Drops the Ballo: His Milquetoast Take on Verdi’s Classic Fizzles at the Met” [New York Observer]
“In the space of a few words, the leading role in a major new production had been reassigned. But why?”
Zachary Woolfe (not pictured) makes his way to Bayreuth to try to unravel the Evgeny Nikitin mystery.
I have a confession to make about Britten’s opera Billy Budd: I don’t like it very much.”
La Cieca (pictured, right) invites you to peruse what’s making headlines today.
The New York Times sends cub reporter (Get it? Cub reporter! Oh, La Cieca is killing herself with the puns!) Zachary Woolfe to the movie palaces of the heartland.
“Though Mr. Herheim’s work is rigorous, it is also fun, and this Rusalka is serious but the opposite of dour.”