(A)nything (B)ut (C)armen
Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
American Bach led a stirring rendition of Handel’s Ode for St. Cecilia’s Day, full of big questions and even bigger musical highlights.
San Francisco goes baroque with performances of Handel‘s Alcina, Tolomeo, and Rinaldo.
I could not wrap what’s left of my mind around the concept of “filth and dementia” in opera
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Renée as Thaïs finding salvation while trudging through the parched Egyptian desert in off-the-shoulder La Croix atelier.
At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
What to our wondering ears should appear, but a 40-track Jonas Kaufmann Christmas album?
Alexander Köpeczi, currently plying leading roles in two operas in Santa Fe and, rumor has it, the life of one prominent soprano, is the object of this week’s Grand Tier Grab Bag.
Rising stars Chelsea Lehnea and Ricardo José Rivera are the protagonists of this week’s Grand Tier Grab Bag.
It’s a busy summer for Vida Miknevičiūtė and Eric Cutler, the subjects of this week’s Grand Tier Grab Bag.
Elina Garanča’s aborted first Ariadne may have been the headline item at the Salzburg Festival next month, but this week Parterre Box features the Zerbinetta, Ziyi Dai.
One Italian soprano continues to save the day in bel canto roles at La Scala; this week Parterre Box features Marta Torbidoni.
Ambur Braid‘s biggest dramatic soprano assignment yet — the Dyer’s Wife in Aix — is occasion for Parterre Box to feature her in some of her old repertoire.
Speaking of dementia in opera, all I can think of is the extraordinary reimagined production of Béla Bartók’s chamber opera Bluebeard’s Castle that I saw at Atlanta Opera in October 2022.
I’ve only heard one performance that could be described as ‘filth.’
I could not wrap what’s left of my mind around the concept of “filth and dementia” in opera
Renée as Thaïs finding salvation while trudging through the parched Egyptian desert in off-the-shoulder La Croix atelier.
What to our wondering ears should appear, but a 40-track Jonas Kaufmann Christmas album?
Speaking of dementia in opera, all I can think of is the extraordinary reimagined production of Béla Bartók’s chamber opera Bluebeard’s Castle that I saw at Atlanta Opera in October 2022.
That this performance of Verdi’s Lady Macbeth was recorded and preserved for posterity is beyond the pale.
Richard Lynn would like to bring some operatic podcast episodes of The Sewers of Paris and Die Primadonnen to your attention.
Dementia and filth in the same clip!
Shakespeare Opera Theatre presented two American operas exploring themes of hypocrisy and deception — in a church!
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