Parterre Box previews Kathryn Lewek‘s upcoming Salome with clips of her as another unhinged lady of antiquity.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
Heretofore I’d avoided the Met’s abridged, English-language holiday presentations.
This year’s Salzburg Festival opens Saturday with a new production of Mozart’s Die Zauberflöte, an opera often performed elsewhere in translation, so “Trove Thursday” offers two for the price (!) of one.
In Schikaneder’s patriarchal cosmology, darkness is the province of emotional women—not just the erratic fury of the Queen of the Night, but the pathetic supplications of Pamina as well.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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