Christina Colanduoni
Before this weekend, I never thought I would want to leave an opera by Act I. The recent production of Puccini’s La bohème at the Lyric Opera of Chicago taught me that there’s a first time for everything.
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My first introduction to Béla Bartók’s one-act opera Bluebeard’s Castle was the musicologist Susan McClary’s infamous book Feminine Endings. Here, McClary likened her search of a feminist musicology to Judith’s journey through the seven doors; a journey that ends in Judith’s symbolic death.
American opera and its institutions are experiencing an identity crisis. Nowhere is this clearer than in Tazewell Thompson and Jeanine Tesori’s Blue.
Christina Colanduoni on Lyric Opera of Chicago’s Le Nozze di Figaro
You probably won’t leave Idomeneo ready to burst out in song, but what the opera lacks in melodic immediacy it makes up for in sheer virtuosity.
