Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
Dancing sheep! Flying sheep! Flying sheep who dance!
On a new Opus Arte video, Ermonela Jaho is at the absolute peak of her powers both vocally and interpretively.
Ah, finalmente!
It was a night a-tingle with excitement at the Metropolitan Opera House.
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
Benjamin Britten’s final opera Death in Venice, based on Thomas Mann’s 1912 novella, is given a lush and quite beautiful production from stage director Deborah Warner for the English National Opera.
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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