Cher Public

Harry Rose

Turning over an old leaf

When you think about it, is there any opera that can take more of a beating while still making an impact, or, for that matter, a point, than Eugene OneginRead more »

Alzare le spalle

“Non mi dispiace” seemed to be the general consensus in the loggione December 7 when Verdi’s Attila came roaring into La Scala to open the 2018-19 season.  Read more »

Sondheim sensibility: postmodernism

“Having just the vision’s no solution.”

Though a number like “I’m Still Here” might fall into the trap of camp performance, a deeper look at the structure of the song says a good deal about Sondheim’s postmodern tendencies. In a way, Carlotta is just another example of a Sondheim character whose narrative is presented that of failure in life.  Read more »

Sondheim sensibility: camp

The singularity of Stephen Sondheim contributes to the conception of him as a camp figure.

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Dancer in the dark

Patrice Chéreau‘s Elektra brims with ideas beyond its eschewing of the opera’s standard, hysterical trappings.

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Rock out with your Tracht out

Lohengrin descended upon the Wiener Staatsoper this month like American college students to Oktoberfest: loudly, spastically, not especially coherent, and in full lederhosen and dirndls.

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Santuzza in a kimono

The whole performance reminded me of what Butterfly as I have never known it, but often herad about it, can be.

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Paris was burning

Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.

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