Verdi’s Attila is hardly a rarity in Italy the way it is in the United States, and after last Sunday’s premiere at the Teatro Regio di Parma as the fourth and final title of 2018’s Festival Verdi, I realized just how much we have been missing out on. Read more »
Harry Rose
Charles Dickens, who had his share of opinions about ghosts, observed of the occasion of a 1846 visit to Parma the monumental and austerely majestic Teatro Farnese, “if ever Ghosts act plays, they act them on this ghostly stage.” And so it came to pass that America’s longest-standing theatrical lightning rod, Robert Wilson, there premiered his ethereal, time-collapsing production of Le trouvère this weekend as part of the Teatro Regio di Parma’s sprawling annual Festival Verdi. Read more »
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The summer of 2018 will be memorable for several reasons, but two of the ones near the top of the list are my finally watching Downton Abbey and my discovery of William Walton and Edith Sitwell’s Façade: An Entertainment (through Chris Corwin’s indispensable Trove Thursday podcast). That I only just now came upon the both of these devilish and delightful pieces will certainly surprise those who know me well. Read more »
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
I mean, how often does one get to hear Bernstein’s gorgeous, rollicking, and varied score nursed by a full orchestra and the artistic resources of an opera company?
If opera as a genre in justified in its claim to one particular story, history confirms that the Orpheus myth would be that story.
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
Cher Public