Shoot your shot
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
8 pieces since 2018 — in 6 roles, at 4 companies, most often at Washington National Opera.
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
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