Cher Public

Harry Rose

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

“Camping” with Follies.

Though composer and lyricist Stephen Sondheim’s works are famous for their structural and modular diversity, a closer look at their elements of cultural criticism embedded in each work give insight into philosophical and structural undercurrents that stay consistent through his career, chiefly camp and postmodernism.  Read more »

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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Dishonored in the breach

Uneven operas, like Verdi’s Ernani, which just recently finished its Scala run, more often work as theatre on the micro level than the macro.

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