Washington National Opera followed up Monday’s lavishly praised Die Walküre with a Siegfried that, if not quite rising to the summit of the previous installment, delivered a musically committed and eminently watchable version of this complicated work.
WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening.
Simply put, Christine Goerke is a stupendous Elektra.
Gala this; gala that; who knew rich people wore clothes so badly?
You might be surprised, though, when that title turns out to be Show Boat.
Three blocks from the opera house is a terrible time to realize there was homework.
Love grand opera but wary of a six o’clock curtain with five hours of music behind it? (And nothing is grander than Berlioz’s Les Troyens, eh?) Your dilemma has been solved. Show up at the Met at 7:30 or 8:00, whenever they have the first intermission.
As an opera, La Traviata is defined by its characters.
It was dear Oscar Wilde, wasn’t it, who devised that early mot du jour “Good writers borrow; great writers steal”…
Les Troyens is one of those things, or often two of those things, that should be a big event or it practically needn’t happen at all.* The keynote is grandiosity in the best way, from the subject to the musical demands (let’s include the implicit challenge of one singer performing both Cassandre and Didon—not because…
Blazing Jupiter, the Jovial Star, my personal magical azimuth, plus Perseid meteors wafting about, burning out as do our souls, as we arrived home from Seattle Opera’s new production of Tristan und Isolde.
Take a Wild Ride with a Valkyrie!! Yes, that’s what all the signs say around Old Baghdad-by-the-Bay…. So, fasten your seatbelts, y’all, it’s going to be a bumpy night! As it turned out, Die Walküre was an unexpectedly wonderful ride, marking the debut of someone who could be a very important new Brünnhilde, Nina Stemme.…
Among the “auditions” that have come flooding in from the cher public are reviews of three very different productions of Don Giovanni. Your doyenne has taken the liberty of combining the three critiques into a single posting, but she urges you to remember, remember well the names of the authors of this troika of treatises.
A helpful reader has pointed La Cieca to an interview in the current Opera News, a publication she picks up all too infrequently, alas. But the chitchat between Brian Kellow and Francesca Zambello is just too delicious to ignore. Ms. Zambello is the director of Disney’s The Little Mermaid, a show that just last week…
Joseph Volpe‘s memoir The Toughest Show on Earth (see, La Cieca can get the title right when she wants too) is a book about a working-class kid from Queens who wanted to be Rudolf Bing when he grew up. Or, rather, it’s about a stage carpenter who was bright enough and ambitious enough to do…
The upscale art book for opera lovers this holiday season is George Tsypin Opera Factory: Building in the Black Void (Princeton University Press). Tsypin is designer of choice to directors Julie Taymor, Peter Sellars and Francesca Zambello; his most familiar work to New Yorkers is perhaps his Met Zauberfloete in collaboration with Ms. Taymor. The…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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