Behind the mask Behind the mask

Un ballo in maschera—but instead of a tragedy, an opera buffa—and in Danish?

There arose such a clatter There arose such a clatter

With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.

Montag mit Marguerite Montag mit Marguerite

Berlioz apparently couldn’t decide if his was an oratorio or an opera, so he labeled it a “légende dramatique.”  Since its 1846 Paris premiere, it remains on both opera stages and in concert halls, with its first Met staging in 1906. 

Unheard prayers Unheard prayers

Our Own Jungfer Marianne Leitmetzerin gets serious for a moment, or rather for about an hour and a half, with a performance of Beethoven’s Missa Solemnis led by Christian Thielemann.

When I have sung my songs When I have sung my songs

Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.

Not quite right Not quite right

The last of the Strauss-Hofmannsthal collaborations, Arabella, is a real problem child.

My God, it’s full of stars!

Ioan Holender was General Manager of the Wiener Staatsoper for nineteen years, the longest anyone has held this post, and the august institution honored him with the gala to end all galas in the final days of his administration.  With the goal of commemorating each of the 40 new productions premiered at the Staatsoper during…

Master, singers

There are several reasons to purchase the new DVD of Die Meistersinger from Vienna (EuroArts EUA 2072488), but the main one is Christian Thielemann. This production will most likely come to be known as “Thielemann’s Meistersinger,” because his sense of the overall architecture of the work is, pardon the pun, masterful.

The beast with three backs

Among the “auditions” that have come flooding in from the cher public are reviews of three very different productions of Don Giovanni. Your doyenne has taken the liberty of combining the three critiques into a single posting, but she urges you to remember, remember well the names of the authors of this troika of treatises. 

divan decadence

Our Own Gualtier Maldè reports: Not every opera has to be a masterpiece.  I couldn’t subsist on a steady diet of Tristan und Isolde, Die Zauberfloete, Fidelio, plus Otello,  Falstaff et al.  Frankly the occasional light comic bonbon or trashy but fun melodramatic tunefest makes a nice palate cleanser.  I am talking Adriana Lecouvreur, La…