Mark, missed
Thoughtless direction stifled the epic drama.
25 pieces since 2013 — in 9 roles, at 7 companies, most often at Metropolitan Opera.
Thoughtless direction stifled the epic drama.
Along with Don Giovanni, Carmen is an odd bird on the list of the most beloved and frequently performed works.
Considering the size and the logistics for staging Les Troyens, every new production of Berlioz’s epic masterpiece is a special event.
As I mentioned in a previous post, one of my two favorite operas is Les Troyens,
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
Elina Garanca’s glorious Marguerite transformed La Damnation de Faust into the Met’s first essential must-see of the year.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.
What we have here is the grandest opera never heard.
Maria Agresta‘s delicately-acted, sumptuously-sung seamstress transformed what might have been just an average Wednesday night revival into something finer.
One of the major complaints about the five year casting system (as well as the shared productions by different companies) is that operatic events are rarely surprises anymore.
Every year I say I’m not going to another La Bohème because I’ve seen this too many times.
Politics and romance entangled in a spectacular fashion at San Francisco Operas’s Roméo et Juliette.
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