Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
Fine music-making meets a clunker of a production in La Monnaie‘s revival of Norma
Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.
It’s Norma, darling. We know.
Jessica Pratt’s last-minute Norma in Milan might well be the stuff of legend
It was, at least, a jolly good show. Whether or not it actually suited Stravinsky’s music or Auden and Kallman’s text, is another question.
“The function of prayer is not to influence God, but rather to change the nature of the one who prays” – Soren Kierkegaard
This black-box recital was an aggressively Gallic affair
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
We waited eagerly to hear the Munich-born Jonas Kaufmann make his role debut as Manrico at the Bavarian State Opera as well the German-Greek soprano Anja Harteros take on Leonora’s bravura difficult arias.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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