Malin Byström is a radiant water nymph in the Bayerische Staatsoper‘s house-of-horrors-set Rusalka.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
The production is based on the Elisabeth Fritzl story, and it really made me reconsider this opera’s fairy tale storyline.
A starry cast is hampered by Christof Loy‘s dour production of Rusalka in Barcelona
Contrasting approaches to Regie duke it out in Cavalleria rusticana & Pagliacci and Rusalka in Munich
I finally get to complete my personal operatic Top Ten this week with Igor Stravinsky’s only full-length opera, The Rake’s Progress.
Today’s Rusalka video overview covers filmed performances of Dvorák’s opera since 2010.
“Has anyone ever seen a truly great production of this opera?”
“I will never sing the role again. It was frightful. We were a set of madwomen…There is nothing beyond Elektra. We have lived and reached the furthest boundaries in dramatic writing for the voice with Wagner. But Richard Strauss goes beyond him. His singing voices are lost. We have come to a full stop.”
The winter 2014 final run of the Met’s first/only Rusalka production (a new one is scheduled in a few seasons) seemed both a nod to the theater’s past and a hint of its future.
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
A Dutch-speaking parterrian has graciously translated the interview with Piotr Beczala that’s been causing such a foofaraw lately.
So, Piotr Beczala (left) has gone and blabbed to Luister, which is some sort of Dutch glossy classical music magazine…
Rusalka and her sisters are huddled in the flooded basement.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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