Aged in blood
Simply put, Christine Goerke is a stupendous Elektra.
19 pieces since 2009 — in 8 roles, at 7 companies, most often at Metropolitan Opera.
Simply put, Christine Goerke is a stupendous Elektra.
Trove Thursday presents that perennial holiday favorite Berg’s Wozzeck.
Alban Berg’s compact yet potent oeuvre has long played an outsized role in shaping my understanding of music’s aesthetic evolution.
Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar.
Yannick Nézet-Séguin and the Metropolitan Opera Orchestra reigned supreme at the opening night of Wozzeck on Friday evening, rendering every snarl and shimmer of Berg’s score with gripping intensity.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
Elza van den Heever and Peter Mattei (and the stage elevator) elevate an assertive, if not definitive, new Salome at the Met
Andris Nelsons led the Vienna Philharmonic in a performance of Salome that provided just the sort of thing one hopes for in a concert performance of an overflowingly rich operatic score.
A parterre box exclusive: a live recording of Lise Davidsen‘s first Judean princess
Bayreuth’s AI-powered “Ring 100010110” marred a first-rate cast and orchestra with nightmarish visuals and horrid dramaturgy.
With Siegfried, the directorial vision of the Paris Opera‘s Ring cycle finally takes root.
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Stefan Vinke’s Siegfried was not so much brawny and terrestrial, but heady and mercurial
Since 2010 I’ve been reading nothing but horror being heaped upon the Met’s new Ring. It’s been like a cross between a cruise ship size buffet spread of internet snarking and a slasher film re-cast with music critics.
A new CD set of Der Ring des Nibelungen, recorded live at the Bayreuth Festival in 2008, is slim on superstar casting, but basks in the reflected glory of conductor Christian Thielemann, a controversial artist with a passionate following. So how does the music measure up?
In Mussorgsky’s Boris Godunov, all the Russian people starve and suffer, but none has suffering like the mental agonies of Tsar Boris.
Hansel and Gretel might just be the best thing the Met has done so far this season.
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