Audacious star performances elevate safe direction in Richard II and The Seagull on London’s West End
Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
Trove Thursday offers a pair of live broadcasts of Médée featuring two compelling mid-20th century divas—Inge Borkh in German and Eileen Farrell in Italian.
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)
Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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