La Monnaie’s flamboyantly busy new production of Benvenuto Cellini reads more burlesque than Berlioz.
Fine music-making meets a clunker of a production in La Monnaie‘s revival of Norma
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
In a lifetime of opera going I suppose I have seen many transformative productions, but this recent one seems, in the light of the increasing disaster enfolding this country, uncannily pertinent.
Dmitry Matvienko led a performance of Mussorgsky and Shostakovich at La Monnaie with meticulous rectitude.
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
Now it’s time to grab Albert Einstein for a lengthy swim.
While Bernard Herrmann is remembered primarily for the seven films on which he collaborated with Hitchcock, he also composed one opera: Wuthering Heights, written between 1943 and 1951.
Imagine two tenors releasing French opera aria collections at the same time without duplicating a single track!
Life is not fair. There are rules that apply to Jonas Kaufmann, and rules that apply to everyone else.
Thérèse is a compact work consisting of two short acts and clocks in just under seventy minutes.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.