A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
Washington National Opera’s second full-run offering of the season, a new production of Verdi’s perennially appealing Macbeth, premiered last Wednesday at the Kennedy Center.
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.
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
In 2022, making Così fan tutte intimate is not a radical act. Making it enjoyable, however, is.
As long as women have been preyed upon, Don Giovanni has been relevant.
How does one make a performance of standard opera repertoire like Mozart’s Le nozze di Figaro feel “fresh?”
Give the creators credit for producing an emotional response.
[UPDATE: Now with photos!] Before Opera Boston’s performance of Cardillac at the Majestic Theater on Sunday afternoon, a woman warned the people in her row that she might have to leave early. A man insisted to her that “the last seven minutes” were not to be missed.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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