Harry Rose

Recasting the mold Recasting the mold

Kennedy Center could not have predicted just how aptly Saturday evening’s rescheduled recital of 2020 Marian Anderson Award winner, baritone Will Liverman, would respond to the moment.

By on November 10, 2020 at 3:57 PM
5 comments
Day at the museum Day at the museum

Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.

By on August 02, 2020 at 9:55 AM
25 comments
Hymns and chaos Hymns and chaos

It’s Easter season, and that can mean only one thing for opera: It’s Cavalleria Rusticana time. And I, for one, couldn’t be more excited.

By on April 14, 2020 at 12:46 PM
20 comments
A talent to a muse A talent to a muse

The ballet I have grown to love, admire, and ponder the most is Stravinsky’s first collaboration with George Balanchine, Apollo.

By on March 18, 2020 at 4:21 PM
2 comments
Group therapy Group therapy

As long as women have been preyed upon, Don Giovanni has been relevant.

By on March 10, 2020 at 1:31 PM
6 comments
A new meadow to wander in A new meadow to wander in

Over the past two decades, the understatedly beguiling Sasha Cooke has inched chronologically inwards in her subtle conquest of swathes of mezzo concert repertoire.

By on February 20, 2020 at 12:32 PM
1 comment
General, not specific General, not specific

While Russell Thomas admirably goes toe to toe with Otello (and Otello) in a thoughtful and self-aware way, the assumption feels like a work in progress if not an outright mismatch with his vocal gifts.

By on November 07, 2019 at 12:39 PM
4 comments
Immersed in eternal light Immersed in eternal light

Christian Gerhaher delivers a Kindertotenlieder of such conciliatory tact that it erases all others.

By on October 20, 2019 at 12:14 PM
3 comments
“To be natural is such a very difficult pose to keep up” “To be natural is such a very difficult pose to keep up”

Tosca, as it exists now, can’t be real, spontaneous drama-it’s just Camp.

By on June 03, 2019 at 9:00 AM
13 comments
Turning over an old leaf Turning over an old leaf

Is there any opera that can take more of a beating while still making an impact than Eugene Onegin? 

By on March 12, 2019 at 9:36 AM
24 comments
Alzare le spalle 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.

By on December 16, 2018 at 2:09 PM
11 comments
Sondheim sensibility: postmodernism Sondheim sensibility: postmodernism

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

By on December 13, 2018 at 9:00 AM
14 comments
Sondheim sensibility: camp Sondheim sensibility: camp

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

By on December 12, 2018 at 10:00 AM
27 comments
Dancer in the dark Dancer in the dark

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

By on November 20, 2018 at 8:20 AM
37 comments
Rock out with your Tracht out 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.

By on November 14, 2018 at 7:48 AM
4 comments
Santuzza in a kimono 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.

By on November 08, 2018 at 10:47 AM
17 comments
Paris was burning Paris was burning

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

By on November 06, 2018 at 10:10 AM
73 comments
Dishonored in the breach 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.

By on October 27, 2018 at 11:48 AM
2 comments
Original sin Original sin

This new production of the 1847 original version of Verdi’s first stab at Shakespeare features the extraordinary performances of Luca Salsi and Anna Pirozzi as the Thane of Cawdor and his merry wife.

By on October 15, 2018 at 3:03 PM
10 comments
Another Hun bites the dust Another Hun bites the dust

Verdi’s Attila is hardly a rarity in Italy the way it is in the United States.

By on October 08, 2018 at 12:46 PM
4 comments
Ceci n’est pas un ‘Trovatore’ Ceci n’est pas un ‘Trovatore’

America’s longest-standing theatrical lightning rod, Robert Wilson premiered his ethereal, time-collapsing production of Le trouvère.

By on October 02, 2018 at 10:00 AM
5 comments
Something lies beyond the Scene Something lies beyond the Scene

I was overjoyed by the coincidence that Santa Fe Chamber Music Festival would be presenting Façade.

By on August 10, 2018 at 12:01 PM
4 comments
Home run Home run

The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.

By on May 31, 2018 at 9:00 AM
1 comment
Give ’em Hellman Give ’em Hellman

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?

By on May 21, 2018 at 9:21 AM
5 comments
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