Vanderducken
Here’s a canard proceeding from a clearly truthful premise.
Here’s a canard proceeding from a clearly truthful premise.
On the occasion of “the greatest party for Classical Music on the planet,” the Last Night of the Proms, mezzo Joyce DiDonato quietly (but audibly) takes a stand for equality.
LA SCALA DE MILAN propose à Roberto une nouvelle production d’AIDA sous la Direction de Lorin MAAZEL ainsi qu’une nouvelle collaboration pour le futur.
La Cieca now would like to extend a special offer to performing arts organizations in the Greater New York are who would like to join the parterre.com family of advertisers.
Her appearance is incongruous to this setting.
A bio in need of perhaps a little minor retouching.
The “gown of a thousand mirrors” arrived in New York Wednesday, direct from Rochburn, near Monte Carlo. The Chicago Grand Company’s Mary Garden brought it, and the steamer La France made port with both.
There is a mighty appetite among both old Wagnerians and new ones to see a Ring that follows—if not too slavishly—the scenic requests of the libretto.
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
For your perusal and social planning, cher public, parterre’s 2013-2014 New York Opera Calendar is now online and current through the end of the season.
Mark your calendars and set your alarm clocks, cher public, for 13 October 2013 at 18:00 CEST (that is, 2:00 PM in New York City) when individual tickets for the 2014 Bayreuth Festival will go on sale online.
Take a nice long break, cher public, to discuss off-topic and general interest subjects.
Congratulations and best wishes to Kennedy Center President Michael M. Kaiser and and economist John Roberts, who will be married tonight at the performing arts center in a ceremony officiated by Justice Ruth Bader Ginsburg.
Teresa Berganza is the latest superannuated superstar to jump on the “I hate regie” bandwagon.
All right, I admit it; I finally broke down and read the program notes for the Ring in the Bayreuth program book.
The 1965 season was a time of big changes at the Vienna State Opera.
Which opera company has informed a budding composer they are willing to add his new opera to their repertoire for next season… so long as said composer can kick in the estimated $2 million it would cost to present his work?
Is Der Ring des Nibelungen responsible for the transformation of Seattle from a gray, damp, low-rise Boeing company town where half the jokes had punchlines in Norwegian (and were about lutefisk in any case) into today's booming cultural metropolis? I like to think so.
Which veteran artist delivers doubly sad news this week, canceling an opera that was written for her?
I’m told that the public were, if hardly enthusiastic, at least ambivalent toward the Frank Castorf Ring up until the first performance of Siegfried, at which point things got really ugly and the booing started in earnest.
Let’s take a moment, liebes Publikum, to discuss off-topic and general interest subjects.
First things first: working from the limited evidence of half or less than half of Frank Castorf’s production of the Ring, I don’t see any evidence of contempt for the audience or whatever you want to call it.
There are some productions that “introduce” themselves quite clearly early on: for example, the Patrice Chereau Ring puts it cards on the table very frankly with the image of the hydroelectric dam populated by grisette Rhinedaughters.
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