Patrick Mack
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
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I still remember, and some of it quite vividly, what it was like to experience Achim Freyer‘s intense and groundbreaking Ring production all these years later.
This video recording of Il trovatore is sensational for all the right and wrong reasons simultaneously.
Mr. Wilson’s production concept, according to his liner notes, has more to do with Paris at the time of the premiere and a “world of memory” than it does with the storytelling of civil war in medieval Spain.
Robert Wilson is many things: a visionary (certainly); an iconoclast, artist, director, and designer of sets, lighting, costumes, movement (and furniture). Yet his work is never boring (well, at least not intentionally).
On the first viewing of this Idomeneo, with a cast clad mostly in military khaki green set against a green sky, the eye starts to tire from the dullness of the surroundings.
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
For those of you keeping track at home that’s four substitutions for three roles and the curtain hasn’t even gone up yet.
A special program note for Saturday night’s performance of Matthew Aucoin’s new opera Eurydice pointed to a rare convergence of three MacArthur Grant fellows in its creation and staging.
We’ve had a mini-fest of director Barrie Kosky’s work this year at LA Opera.
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
Sunday evening Los Angeles Opera presented tenor Javier Camarena in recital to a wildly enthusiastic audience from the stage of the Dorothy Chandler Pavilion.
An opera company presenting a Broadway musical that centers around a woman of a certain age travelling to Italy with her young daughter might seem more a vehicle for a great diva of a certain age.
I’m certain I wasn’t the only one thrilled to bits to see LA Opera’s production of La Bohème finally retired after 26 years and seven mountings.
L’Italiana in Algeri‘s appearance at the Salzburg Festival should be no surprise since Ceciila Bartoli has been the intendant of the Whitsun Festival extension at Salzburg since 2012.
While Luciano Pavarotti may have brought opera to the people, once he realized how lucrative it could be, there was a string of promoters who helped him turn all that adoration into cold hard cash.
Michael Fabiano is a boss. This is a fact.
La Traviata offered a cast of fresh debutantes and an uncommonly strong musical performance that could hardly be bettered.
As you can imagine, oaths are sworn, curses are flung with avidity, and a mysterious shepherd sings a tune of foreboding from a distant mountain gorge just when you’d expect it.
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
The Albanian soprano Ermonela Jaho is surely the reason that Covent Garden has made a commercial release of this “Live to Cinemas” relay from March of 2017.
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