Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
A chic production of Violanta at the Deutshce Oper Berlin continues the Korngold craze on the other side of the Atlantic.
It is a physical pleasure to hear Kate Lindsey at close quarters.
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
Her star is indeed on the rise, but squarely on her terms.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
What is the best metaphor for this year’s Bard Music Festival?
The aphorisms projected before each act of Das Wunder der Heliane suggested the work concerns the transformative power of love—but does it really?
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
“How far should we give way to grief? How far dare we, without disaster?”
Riccardo Chailly’s appointment as La Scala’s new music director was news that I greeted with enthusiasm when first announced in 2013.
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
A biopic entitled Florence Foster Jenkins, marvelously directed by Stephen Frears of Philomena and The Queen fame, stars the actress that never ceases to amaze us all, Meryl Streep, as Mme. Jenkins.
One of opera’s great “what ifs?” is what would young Erich Wolfgang Korngold have contributed to the repertoire had the likes of The Adventures of Robin Hood not beckoned him to Hollywood?
If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies.
Adapting a novel, especially a well known novel like Sophie’s Choice, by William Styron, can be a herculean task. The two conflicting, almost mutually exclusive, forces at work are the desire to create a great work for the stage, while at the same time remaining true to all the nuanced characterizations and storylines present in…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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