Patrice Chéreau, the humanist in provocateur’s clothing, returned to Wagner in 2007 at La Scala with Daniel Barenboim and Waltraud Meier.
Richard Wagner believed the key to any legend was contrasting the supernatural with human nature, and showing how the combination had no chance of enduring. In Lohengrin, the title’s character’s insistence on unconditional love and trust collide with the conditional expectations of the real world. The challenge is capturing the tale’s somber majesty without losing…
Here goes with the End of the Gods and the End of these Ring reviews: Götterdämmerung was more of a mixed bag than the other operas, but still left a powerful impression. This was where Zambello’s choice to steer clear of heavy spectacle was most evident to me. The cost in grandeur was offset by…
Our Own Gualtier Maldè reports: The Met’s orchestra and audience have found a new conductor to love: Daniel Barenboim.  The debutante conductor got a huge ovation before he even lifted his baton. Lots of applause for Danny B. all night from an adoring audience including a generous amount at his final bow. There was lots of touchy feely…
Introducting a new guest critic, Giulia Grisi, who blogs regularly for “Il Corriere della Grisi.” La Scala’s 2007-8 opera season opened last night (December 7) with a new production of Tristan und Isolde. The Milanese theatre hadn’t presented Wagner’s masterpiece since 1978, when Carlos Kleiber‘s masterful interpretation became an instant classic, in spite of a…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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