Cher Public

Alex Baker

Alex Baker lives in Washington, DC, where he enjoys attending a variety of classical music events. After college in New York he started attending the Met on a regular basis and blogging about his experiences at wellsung.blogspot.com. Current singers he would travel for include Christine Goerke and Karita Mattila, while historical favorites include Tatiana Troyanos and Astrid Varnay.



Higher and higher

BrownleeThis past week brought the first installment of the new “Renee Fleming’s VOICES!” series at the Kennedy Center. The bad news is that this is not the name of a new drag revue she is curating. The good news is that the first concert was devoted to the exceptional artistry of Lawrence BrownleeRead more »

Crazy stupid love

figaroWell, that didn’t last long. Just four months after closing out a triumphant Ring cycle that briefly made DC the envy of opera-goers across the country, Washington National Opera has launched its new season with an exceedingly safe, borrowed production of a repertoire chestnut.  Read more »

A choice, not an ecosystem

GottWashington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.  Read more »

That ’70s show

Siegfried, WNO, Washington, DCWashington National Opera followed up Monday’s lavishly praised Die Walküre with a Siegfried that, if not quite rising to the summit of the previous installment, delivered a musically committed and eminently watchable version of this complicated work.  Read more »

Special guest Heldenreizerin

WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.

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Burden of gilt

Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.

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Light from shadow

Javier Camarena offered a performance carefully calibrated to a more intimate venue that nonetheless offered emotionally potent results.

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Play well

Kurt Weill and Maxwell Anderson’s 1949 musicalization of Alan Paton’s Cry, the Beloved Country has found a tentative home on the opera stage.

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