Critic in crinoline
About this evening: the opera we saw was Arabella, written by a gentleman named Mr. Richard Strauss.
15 pieces since 2014 — in 11 roles, at 8 companies, most often at Metropolitan Opera.
About this evening: the opera we saw was Arabella, written by a gentleman named Mr. Richard Strauss.
Although stripped down, this comedy of manners was far from boring due to well-choreographed movements and actions of the characters.
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.
This may be Karita Mattila’s greatest role.
Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
It’s been eight decades since darling Aix-en-Provence was under attack—its last formal invasion, at least by non-operagoers, was in 1942 during the German occupation of southern France. But on Friday, the town was besieged once again by its annual festival, with two dazzling premieres that examined the cruel and constructive dimensions of war and revolution.
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
Patrick Mack reviews yet another Puccini album from Jonas Kaufmann
Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
When our friends at Naxos and C Major announced near-dueling releases of Puccini’s “shabby little shocker,” I was ready with my critic’s pen dipped in bile.
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