Opera Vlaanderen opened its 2017-18 season with a rare staging of Korngold’s Das Wunder der Heliane.
Enthusiasm is contagious–you have to cover up carefully lest it make you sick.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.
Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective.
You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.
The relative obscurity of Karol Szymanowski‘s Krol Roger (King Roger, 1924) can only be blamed on its being in Polish. The music is often as thrilling as anything by Janácek or Bartók, and the libretto by Jaroslow Iwaszkiewicz (heavily adapted by the composer) is as full of provocative philosophical ideas as operas by those composers…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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