Cher Public

Christian Ocier

Christian Ocier emerged fully formed one eros-filled evening from the nocturnal thrum of Tristan und Isolde’s Liebesnacht. During the Tag half of his life’s equation, he doubles as a pâtissier and a nanophotonic materials science Ph.D. student, a degree which he will soon complete at the University of Illinois at Urbana-Champaign. Christian’s serious love for opera was sparked during his mid-teens after listening to Carlo Maria Giulini’s 5-Act Don Carlo. Eventually, his tastes gravitated to the dramas of Wagner, Strauss, Bartok, Janacek and Berg. To him few things make Nacht more transcendent than great performances of Tristan, Die Frau Ohne Schatten or Lulu—the trifecta of operas he adores the most. His tortes, entremets, and entrées honoring great musicians include La Stemme Divine (Nina Stemme), Le Grande Lise (Lise Davidsen), and Ravioli all’Ambrogio Maestri.

Wien disposition

Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc. Read more »

Wien to me

In his memoir The World of Yesterday, the Austrian writer Stefan Zweig painted a vivid portrait of the musically febrile Vienna of his youth, recounting with literary flair the Viennese’s exacting obsession over opera and its myriad strata of detail. Read more »


My thoughts turned to Willa Cather’s Death Comes for the Archbishop as the setting sun bathed New Mexico’s Sangre di Cristo Mountains in a reddish ochre. These breathtaking vistas—a play between scattered evening light and a landscape conjured from Cather’s lyrical pen—carried a musicality and poetry that provided an inviting prologue for the dramas that grace Santa Fe Opera’s open auditorium. Read more »

The journey is the destination

In this recital, the Polish bass-baritone Tomasz Konieczny and his pianist Lech Napierala present the world premiere recording of Stanislaw Baranczak‘s Podróz Zimowa (Winter’s Journey), which weds the poet’s meticulously crafted poetry to the music of Franz Schubert.

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It’s the Minnesinger not the song

Tannhäuser pales beside the other great Wagnerian operas in the degree to which it has innovated the Regisseur’s vocabulary for set design and dramaturgy.

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Putting it together

Riccardo Muti’s vision of Aida’s score largely emerged as one of subtlety, musicality, and restraint.

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What we do in the shadows

The Wiener Staatsoper commemorated its 150th anniversary with a musically sensational presentation of Richard Strauss’ Die Frau Ohne Schatten.

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Upon arrival

Lise Davidsen, the young Norwegian soprano who won the Operalia competition in 2015, makes her debut as a recording artist with the Decca label in a new recital of Wagner and Strauss arias and orchestral songs.

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