Finally, finally, a change to see Massenet‘s Hérodiade, albeit in concert from, though I long for a day when the Met or the Lyric Opera of Chicago would give us a staged performance.
I guess it’s no secret here that I LOVE contemporary operas.
Berlin’s 26-27 season opens with a bang.
I am very much interested in La Scala’s upcoming opening night with Verdi’s Otello.
I’m overdue for some bel canto and WCO has historically done it well.
This season marks the third annual visit of The English Concert to American shores, this time with a production of Handel’s Alessandro.
George Saunders’s unforgettable novel about the greatest sorrow known to humankind—surviving the loss of a child and letting go—work as sung theater by Missy Mazzoli.
Evgeny Titov, locally infamous for his production of Salome where the titular heroine wears a paper mask for the entire performance, returns with Szymanowski’s shimmering King Roger.
There are several HDs that look interesting, but what I most looking forward to is the Manon with Nadine Sierra.
I’m looking forward to the Met’s new production of Puccini’s La fanciulla del West.
It is only a concert performance, but no one seems to have told them that; and thank the heavens for that!
Pure dementia. Magda Olivero in the finale to Fedora.
What is more demented than a thrilling performance of Strauss’s Elektra?
This Strauss is demented in the best way possible.
They should sell pay-per-view tickets to this like WWE.
To make a success of the Empress in Frau ohne Schatten, it is not enough to be a fine singer and a great actress.
Love it or hate it, you can’t deny it’s iconic!
I’ve only heard one performance that could be described as ‘filth.’
I could not wrap what’s left of my mind around the concept of “filth and dementia” in opera
Renée as Thaïs finding salvation while trudging through the parched Egyptian desert in off-the-shoulder La Croix atelier.
What to our wondering ears should appear, but a 40-track Jonas Kaufmann Christmas album?
Speaking of dementia in opera, all I can think of is the extraordinary reimagined production of Béla Bartók’s chamber opera Bluebeard’s Castle that I saw at Atlanta Opera in October 2022.
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).
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