Félix Fourdrain‘s “féerie” Les Contes de Perrault by the Frivolités Parisiennes is as fun for adults as it is for children
Opera San José (OSJ) is continuing the second half of its 41st season with a company premiere of Béla Bartók’s Symbolist opera Bluebeard’s Castle (A kékszakállú herceg vára), with a libretto by his friend and poet Béla Balázs, and OSJ truly spared no effort to make the occasion a memorable one.
Alma Deutscher’s quest for beautiful music permeates the score of her Cinderella from the hushed opening of the Overture.
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle both use themes of vision and revelation to ask compelling questions about knowledge, responsibility, and gender.
Why, only now, Cendrillon is having its premiere at the Met is a puzzling question.
“Operatic” generally refers to sung drama, but there is another meaning of that term: grandiose, outsize, hysterical.
As a child I had but a few criteria that were necessary to ensure a happy entertainment. These included mostly ball-gowns, fairy godmothers and Julie Andrews, though Sally Ann Howes was acceptable in a pinch.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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