With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Washington National Opera rounded out its season opening weekend with a one-night-only performance entitled “Gods & Mortals: A Celebration of Wagner” the evening after the premiere of its new production of Fidelio.
If Zambello’s season-ending Turandot last year represented some of the best of what WNO can offer in the standard rep, this Fidelio was a regression to the mean.
“Let’s start at the very beginning” of Kent Nagano’s pioneering complete Ring project which was recently discussed here in depth in Montagu James’s review of Die Walküre.
Jay Scheib’s Augmented-Reality Parsifal is a cautionary reminder that technological innovation shouldn’t absolve directors from the exacting work of deriving intelligent and fascinating theater from the source material.
Jules Massenet’s version of the Cinderella fairy tale, Cendrillon, seems to be back in vogue after many years of obscurity.
In May of last year tenor Piotr Beczala and soprano Anna Netrebko sang in Lohengrin for the first time under the baton of Christian Thielemann in his home house at the Staatskapelle Dresden.
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.