Cher Public

Harry Rose

“To be natural is such a very difficult pose to keep up”

As I sat watching Washington National Opera’s predictably acceptable season-closing production of Tosca with a friend (following a dinner at which an evaluation of the recent, Camp-themed Met Gala and the essay that inspired it was the dominant topic of conversation), it dawned on me why I have never been truly gripped by this ubiquitous piece my “Musical Dramaturgy” professor in Bologna called the “pinnacle of Italian melodrama”: Tosca, as it exists now, can’t be real, spontaneous drama–it’s just Camp.  Read more »

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

In crafting his musicals, Sondheim’s focus, regardless of genre, tends towards the processive.

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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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