Anna Pirozzi makes a welcome return to the Metropolitan Opera, but Turandot remains as thorny as ever.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Stefan Vinke brings to Tristan an indefatigable heldentenor of sturdy, muscular brilliance and a physical intensity that allowed him to fearlessly traverse this complex character’s broad emotional compass.
The chaos is nonstop, the comedy is broad and physical, and requires a large ensemble of singers who can execute Rossinian polysyllabic patter while taking pratfalls.
There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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