Mozart and Donizetti could humanize characters in a farce—Mercadante in I due FIgaro cannot get a handle on them.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
The day after opening the 2009-10 season with Hugo Weisgall’s Esther, New York City opera presented one of the most beloved operas in the entire repertoire, Mozart’s Don Giovanni, in a new production by Christopher Alden.
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.