Madison Schindele on loving Die Frau ohne Schatten as a “woman of childbearing age”
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
“How far should we give way to grief? How far dare we, without disaster?”
Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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