A strong revival of Falstaff at the Los Angeles Opera proves a fitting farewell vehicle for Music Director James Conlon.
Despite some complications, the Deutsche Oper exhumes buried treasure in Franz Schreker’s Der Schatzgräber.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
There has never been a successful vampire musical—so they say. But that’s just not true.
Although Walter Braunfels was among those German composers whose music was banned in their home country after 1933, and whose political rehabilitiation in 1945 was not accompanied by a commensurate revival of his music, his 1920 opera Die Vögel should need no special pleading on musical or dramatic grounds. Though Braunfels is traditionally described as…
Asking New Yorkers to travel two hours to the remote but beautiful campus of Bard College in New York’s Hudson River Valley to see an opera can be like asking them to cross the Sahara. Yet if there is any opera I would put my life at risk to see again, it just might be…
When invited to participate in a discourse on artistic standards (hello, internet!), it’s easy — pleasurable, even — for an aesthete to bray about “the fall.” Where are the true heldentenors? Your kingdom for a Callas! (Or a Stratas, or a Rysanek!) And might the public, at long last, deserve a stable of directors who…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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