Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
With the phenomenal cast that stacked Paris Opera’s production of I Capuleti e i Montecchi , it was easy to overlook the quirks of Bellini’s opera and get lost in the pleasures of glorious bel canto singing.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
Verdi’s Attila is hardly a rarity in Italy the way it is in the United States.
“Hailed ‘the Meryl Streep of opera’…” begins one sentence of a promotional piece for a Diana Damrau recording of another opera, reproduced on the soprano’s website.
At what moment does a “rising star” become simply a “star”?
Verdi must have gotten tired of tossing and turning by now and has gone back to resting in peace.
One of the major complaints about the five year casting system (as well as the shared productions by different companies) is that operatic events are rarely surprises anymore.
It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.
I’m happy to report that Rigoletto from the 30 DVD Tutto Verdi set from the Teatro Regio di Parma is a blockbuster.
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