Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
“[W]omen are interesting and important in real life. They are not an afterthought of nature, they are not secondary players in human destiny, and every society has always known that.” — Margaret Atwood, February 2017
As a burgeoning opera fan, I relied on YouTube to connect me with the art form.
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
The Canadian Opera Company scored a coup when they secured Christine Goerke for the revival of their Ring productions over the last three seasons
Lyric Opera of Chicago’s 2016-17 season got off to an exciting start on Saturday night with Wagner’s Das Rheingold.
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
Washington National Opera followed up Monday’s lavishly praised Die Walküre with a Siegfried that, if not quite rising to the summit of the previous installment, delivered a musically committed and eminently watchable version of this complicated work.
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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