A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
For those who complain (not entirely unfairly) that Handel operas are “just a string of da capo arias,” I sometimes mutter to myself, “Have they ever tried Rameau?”
The Paris Opera assembled an all-French cast to stage arguably the most well-known example of opéra-ballet, Jean-Philippe Rameau’s Les Indes Galantes.
Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.
One of the glorious perks of my job, which is selling luxury cruises, is that on a semi-occasional basis I get to sample the wares myself—purely from an educational standpoint, mind you.
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.