Some filth or dementia from Remko Jas
To make a success of the Empress in Frau ohne Schatten, it is not enough to be a fine singer and a great actress.
To make a success of the Empress in Frau ohne Schatten, it is not enough to be a fine singer and a great actress.
Though, really, the young artists of the Merola Opera Program were more than alright in their annual showcase.
For those with Odyssey fever, this week’s Grand Tier Grab Bag item features a performance of another ancient epic: Les Troyens with Russell Thomas.
Love it or hate it, you can’t deny it’s iconic!
In Bayreuth, a confident Magnus Vigilius and luminous Jennifer Holloway attempt to elevate Wagner’s populist Rienzi.
I’ve only heard one performance that could be described as ‘filth.’
Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
American Bach led a stirring rendition of Handel’s Ode for St. Cecilia’s Day, full of big questions and even bigger musical highlights.
I could not wrap what’s left of my mind around the concept of “filth and dementia” in opera
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Renée as Thaïs finding salvation while trudging through the parched Egyptian desert in off-the-shoulder La Croix atelier.
San Francisco goes baroque with performances of Handel‘s Alcina, Tolomeo, and Rinaldo.
At Wolf Trap Opera, a season-closing Tosca is weighed down by an incoherent setting during Italy’s Anni di piombo.
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.
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