Cher Public

Porgy Amor

A cynical member of Generation X, Louisville native Todd Koenig rejected a society that told its youth the answers could be found in the MTV video games. His exploration of 20th-century popular music led to a study of piano and a love of jazz. In his twenties, he began to listen to classical music – first symphonic works, chamber music, and keyboard literature, then song cycles, masses and oratorios. Five years into that period, he ventured into one of the few remaining uncharted territories: opera. He has familiarized himself with the standard repertory and much outside of it, and has advocated the art form to friends his age or younger who love music and theater. Since September 2015, as “Porgy Amor,” he has written reviews, history and think pieces (sometimes all at the same time) for parterre box. The opera he loves above all others is Verdi’s Falstaff, which he has described as the work of a very old man, with which a listener can grow old.



Star and garters

 Dans les roles d'amoureux langoureux...

Dans les roles d’amoureux langoureux…

No amount of scholarly diligence has kept Les contes d’Hoffmann from being the messiest of all standard-repertory messes. The opera was unfinished at the time of Offenbach’s death in 1880, and in this case “unfinished” means not a deficit but a surplus of material, some added by other composers, some authentic but not unearthed and sorted out until the late 20th century. Read more »

The frailty of everything earthly

If everything you see is great, you are either new to opera or chronically easy to please. Neither condition is anything of which to be ashamed, but the development of standards over a period of years is something to be embraced. Standards make it mean more when something really is worth raving over.  Read more »

Mitigated Gaul

A DVD/Blu-ray from C-Major preserves Kevin Newbury‘s familiar production of Bellini’s Norma with its most frequent leading lady, the American Sondra RadvanovskyRead more »

‘Ja, ja’ land

We leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs.

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And in the ‘how’

Our selected Rosenkavalier video overview closes out the 20th-century selections, crosses the millennial mark, and includes the first of our performances to depart from the opera’s prescribed 18th-century setting.

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Today or tomorrow or the day after that

“Time is a strange thing,” the lady observes, to a young man who cannot begin to understand what she is talking about.

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Life is like a train

“In my music, there’s not repetition. Something is always going on.”

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Water, logged

So, how excited are you to read another piece about the Mary Zimmerman Rusalka?

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