Matthias Goerne‘s Die schöne Müllerin at Carnegie Hall offers a hoary and excessive collection of mannerisms and vocal tics that served the artist more than the music itself.
In concert with Renée Fleming’s quietly authoritative stage presence, the performance offered frequent reminders of the special affinity between this singer and Strauss’s aristocratic women.
In Richard Strauss’s Arabella, the heroine is consumed with finding the right man—der Richtige—but who is the right Arabella?
I fucking love Renée Fleming.
On Saturday I attended the premiere performance of a new production of Ariadne auf Naxos at the Festspielhaus in Baden-Baden, Germany. It was Renée Fleming’s debut in the title role…
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.