Busyness as usual
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
11 pieces since 2011 — in 9 roles, at 4 companies, most often at San Francisco Opera.
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
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.
That little place just two hours from the city is on the list of things I shall never understand, like the plot of Parsifal.
As Brünnhilde invokes the gods of an empty Valhalla for one last time and strides confidently into a wall of flame, we pause for a moment, unsure of what will follow.
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by […]
Lyric Opera of Chicago’s spectacularly colorful and glitzy new production of The Pearl Fishers opened on Sunday.
Radvanovsky delivered a vocal and histrionic performance that should be the gold standard Norma for years.
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
My takeaway from this evening is that I want to hear a lot more from Amber Wagner.
I grew up with the Anna Moffo recording of Luisa Miller, so it was fortuitous that the Met gave the premiere of a new production in 1968, around the time RCA released the album.
Gala this; gala that; who knew rich people wore clothes so badly?
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