A new production of La sonnambula at the Metropolitan Opera is musically charming if dramatically confounding.
Not too long ago, Benjamin Bernheim gave an interview to Opéra Magazine in which he stated “Je ne suis pas un top model.”
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
The most wonderful thing about opera on video is the vicarious thrill of seeing performances of important works in the most glamorous foreign theaters in gala presentations with musicians of great renown for a piddling fraction of the cost.
Richard Strauss’s “last romantic opera,” as he called Die Frau Ohne Schatten, is and has always been a problem child.
Not a fairy kingdom, but rather an unheated postwar Vienna ballroom transformed into an improvised recording studio: that’s the setting for Christof Loy‘s new production of Die Frau Ohne Schatten at Salzburg. The production is also (if not more so) notable for Christian Thielemann‘s virtuouso conducting of the Vienna Philharmonic and the hair-raising performances of…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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