In Moses und Aron Schoenberg’s struggle with the essence of his own Jewishness is the cosmic glue that bonds Kosky’s to Schoenberg’s vision.
I have seen all sorts of Boris Godunovs, but nothing quite like this.
Minnesota Opera’s stab at boosting revenue with extra performances of something surefire never caught fire.
Joel Puckett and Minnesota Opera hit it out of the park.
The chaos is nonstop, the comedy is broad and physical, and requires a large ensemble of singers who can execute Rossinian polysyllabic patter while taking pratfalls.
Whether you love the 2018 Berlin Staatsoper Tristan and Isolde depends on what you think the opera is about.
I wondered if there truly is a future for opera other than as an overpriced museum piece for an aging audience who likes their sets lavish, their productions non-challenging, and their singers telegenic.
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