David Fox
As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.
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Take it as a high compliment to the harrowing, riveting Soldier Songs that I was grateful it lasted only one hour. My nerves couldn’t have handled more.
Conceived by Adam Guettel as a song cycle that explores human relationships to the gods across the span of history into today, Myths and Hymns has been seen and heard in concert and staged settings, and some of the individual songs are often performed in cabaret.
Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.
As Julia Child, Jamie Barton is clearly having the time of her life.
Has anything positive happened to the performing arts since the plague engulfed us nearly ten months ago?
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
AVA met the challenge with a delightful, if necessarily truncated, video recital that allowed each singer to participate in the now-familiar Zoom platform.
Somewhere in all of this, I decided it was time to try Callas.
Who could doubt that Leontyne Price contains multitudes?
My introduction to the work was the Angel LP from 1964 with Elisabeth Schwarzkopf and George Szell… and yes, I’m aware that it’s a performance that tends to divide rooms.
Today is Stephen Sondheim’s 90th birthday, and it’s not going as planned.
It was love at first hearing. The music was glorious, the conducting bouncy and pointed, and the singers sure sounded terrific to me.
If you want to be sophisticated, drink a cocktail while listening to this particular record.
Bess is clearly Angel Blue’s part—set in the richest and most shimmering upper middle portion of her voice, and optimally suited to her persona.
Time heals almost everything, as Jerry Herman’s best score is stylishly resurrected.
Donizetti’s La Favorite remains a relative rarity in the repertoire, especially in the original French version.
I’ve heard starrier performances, but none that made a more powerful case for this masterwork.
Joyce DiDonato’s take on Winterreise is a conceptual misstep that, song after song, frustratingly dilutes and distracts from an often rewarding musical performance.
Maestro Yannick Nézet-Séguin, always with a gift for gab, is ever more loquacious in concerts, often talking directly to the audience.
The Berta (mezzo-soprano Emily Damasco) runs away with the show.
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