Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
A captivating Asmik Grigorian leads the Bayerishce Staatsoper‘s revival of its Holocaust-set Salome.
Der Rosenkavalier is a three-hour meditation on nostalgia. What could be better to bathe in?
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
Nothing says “diva” like an insane recital program.
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
Bard SummerScape’s concert staging of Die Tote Stadt emerged triumphant thanks to Clay Hilley and Sara Jakubiak.
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Just over a month ago the great Catalan soprano Montserrat Caballé died at age 85.
I was puzzled by my initial exposure to the Medea of Aribert Reimann, a work of 2010.
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Unlike my friend Greg Freed, who entertainingly wrote of his ambivalence about seeing Il trovatore in a movie theater this season, I have embraced the Met Live in HD transmissions as a part of the modern operagoing experience.
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
The Metropolitan Opera desperately needed a new production of Le nozze di Figaro.
The surprises, and puzzles, of Dmitri Tcherniakov‘s production of Don Giovanni in this DVD of a performance at the Aix-en-Provence festival begin before a note has been played or the curtain has risen.
In 2006, Aribert Reimann was offered a commission to create a new work for Vienna State Opera. After initial hesitation—”The creative process can sometimes be rather a struggle and isn’t necessarily a pleasant experience”—he went to work. After a flirtation with a Camus drama, he settled on Franz Grillparzer’s version of Medea as his subject…
I have to confess that I overheard that line during the intermission of the Met’s new production of Amboise Thomas’s seldom-performed Hamlet based on Shakespeare’s oft-performed play. I couldn’t have said it better myself.
I really haven’t paid much attention to “opera regie,” so I can’t give you a firm definition of it. A while ago, a pithy and biting piece called “How to Opera Germanly” made the internet rounds, and it serves as a handy guide for we who are un- or under-initiated. This production of Haydn’s Orlando…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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