Cher Public

Harry Rose

Something lies beyond the Scene

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 »

Home run

Rosina’s Turn

WNO’s season has been uneven at best with some outstanding performances in memory (Proving Up, Eric Owens and Melody Moore in Don Carlo, Tamara Wilson in Aïda) and others that fell flat. I expected the valedictory production of the 2017-18 season, The Barber of Seville, to be reflective of that unevenness, but it instead turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.  Read more »

Give ’em Hellman

As musical theatre and opera companies around the country race to celebrate the Leonard Bernstein centennial, the ubiquity of Candidefeels practically unavoidable. And at Washington National Opera, Francesca Zambello’s main gig when she’s not directing internationally or summering up in Cooperstown, Candide’s ubiquity feels wholly inevitable.  Read more »

Family values

A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?

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Down in the depths

If opera as a genre in justified in its claim to one particular story, history confirms that the Orpheus myth would be that story.

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Little house on the scary

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.

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Women seem wicked when you're unwanted

Stranger things

Vincenzo Bellini’s La Straniera was presented at George Washington University’s dreary Lisner Hall on Sunday.

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We love you, Ms. Hannigan

Could Barbara Hannigan be Joni Mitchell’s classical counterpart?

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