Goddess in three persons
Patrick Mack looks back on “a great, nay, historic evening,” Renata Scotto‘s 1981 performance of Il trittico, now newly available on Met Opera on Demand.
Reviews
Not a Marietta
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
And her mother too
After a flurry of coverage over the past weeks, Opera Lafayette, in partnership with New Orleans’s OperaCréole, finally premiered Edmond Dédé’s Morgiane, ou Le Sultan d’Ispahan in DC last night.
She has come, she has come
I’ve been waiting (nearly) 20 years for another encounter with Samuel Barber and Gian Carlo Menotti’s Vanessa.
Aged in oak
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
Playing midwives to an egg
Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.
Ode to Ode to Joy
Are Beethoven’s symphonies overplayed? Yes, but for a reason. While this justification may sound cliché, Beethoven’s humanist universalism is a sentiment that feels urgent in an era of widespread polarization and pessimism.
Meninas and meninos
Despite the practically unmitigated fiasco of the last Verdi concert opera performance seen in Boston, I approached Sunday’s Boston Youth Symphony Orchestras performance of Don Carlo at Harvard’s Sanders Theatre with much more optimism.
Act III at last
John Yohalem reports from the New York Dramatic Voices performance of Act III of Die Walküre
Roadkill, twice over
Though I’ve sometimes complained that the Paris Opera, while supposedly short of cash, changes its productions nearly as often as the rest of us change our socks, André Engel’s Cunning Little Vixen first appeared there 17 years ago. At the time it was billed as ‘new’, though it actually dates back further still, to 2000 at the Lyon Opera. I saw it when it arrived at the Bastille and wrote it up at the time.
I was on your side, Bill, when you were losin’
Target Margin Theater proudly boasts that Show/Boat: A River, its small-scale and bare-bones staging of Show Boat (at the Skirball Center on Washington Square through the 26th), is a “bold reimagining” of the classic Jerome Kern & Oscar Hammerstein show, a “new adaptation that explores America’s transformation from the Jim Crow 1880s to the Chicago of the Great Migration to the challenges of today,” but I don’t see it.
Perspectives, reflections, obscurity, and illusion
Christopher Cerrone and Stephanie Fleischmann‘s opera at the Prototype Festival re-sets Rashomon in the Pacific Northwest and binds its characters into a hellish cycle of violence with a dark, hypnotic score
Shocker and awe
In 2011, Sondra Radvanovsky‘s Tosca proved promising; fourteen years later, it was absolutely magnificent, a completely satisfying musical and dramatic embodiment of a challenging role by an artist at the peak of her powers.
In limbo
In the “tormented writers’” room, two actors in goth makeup and bride-of-Frankenstein wigs are clacking on typewriters and throwing crumpled papers on the floor.
Pirate lives
The New York Gilbert and Sullivan Players are celebrating their 50th Anniversary Season presenting Ruddigore (last month), The Pirates of Penzance (first two weekends in January), and Iolanthe (on its way in April).
Conductors for the ages
In Munich, performances by 97-year-old Herbert Blomstedt and 32-year-old Thomas Guggeis show the city’s orchestral ensembles at their best
Tick, tick… boomers!
Eat the Document, which premiered at the Prototype Festival last week, compresses a decades-long, nonlinear story into a swift 90 minutes while still finding time to pause for reflection.
Some old and then some new tricks
David Fox and Cameron Kelsall take on a new revival of Gypsy: Is there any gayer or more impassioned theater topic?
Countering expectations
Apologies in advance to Key’mon Murrah, whose rather extraordinary Marian Anderson award recital with pianist Brian Zeger at the Kennedy Center on December 17 demands some general musing.
The government shall be upon his shoulders
Despite not being very happy with the state of the world (and the union) and not looking forward to the New Year, this past December I took in many festive holiday offerings including a pair of oratorios.
Can you dig it?
I had been hopeful that 2024 would end, if not on a high note, then one that was at least in tune.
Quand sur la plage
What can you say, other than that everything was fab?
Singing from our chains
There are two problems to address – problems of the sort the arts thrive on addressing.
Birds, bears, and based boyfriends
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).