Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
The Bayerische Staatsoper’s summer festival wound down with Lotte de Beer’s darkly effective production of Gounod ’sFaust.
Are today’s stars enough to sustain Andrea Chénier?
Grand Tier Grab Bag marks the Metropolitan Opera return of Daniele Rustioni with a zippy performance of the Royal Hunt and Storm from Les Troyens recorded in 2022 in Munich.
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Contrasting approaches to Regie duke it out in Cavalleria rusticana & Pagliacci and Rusalka in Munich
This Carmen, in other words, was somewhat less radical than its initial image suggested.
Verdi’s Falstaff is a brilliantly written opera: funny, with a complex ability to operate across minutely shifting registers of farce and lyricism. It needs, ideally, a production and cast capable of executing both comedy and drama, irony and sincerity—often concurrently. In its current Met revival, happily, Falstaff has everything it needs.
The Vienna Philharmonic brought along no star soloist for their three-night residency at Carnegie Hall this past weekend. Their programs didn’t include any commissions or flashy new works. The repertoire choices hewed closely to the core Austro-German corpus for which they are justly famous, including multiple works they had given in their world premieres.
Saturday’s performance of Le nozze di Figaro at the Met mined the humor from Mozart’s divine setting of Beaumarchais’s play about a crazy day in the Almaviva household.
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
At the heart of this success was Quinn Kelsey’s revelatory take on Rigoletto. He was matched, vocally and dramatically, by Rosa Feola’s Gilda—a tour-de-force performance.
There might be nothing in the world as joyous as a Rossini overture.
It is quite unusual to stage a new indoor production in the middle of summer in Italy when so many outdoor venues are open, but general manager of La Scala Stéphane Lissner – who will leave next year – decided to close the first half of this Verdi-Wagner year with a beloved hit of il cigno di Busseto.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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