When such a canonically ossified work like Verdi’s Aïda is directed at all (let alone as ambitiously as Damiano Michieletto at the Maggio Musicale Fiorentino), it does feel like a completely different opera
Francesco Filidei’s new opera The Name of the Rose struggles to bridge the past and the present in Milan
Shortly before Tuesday’s performance of Salome at La Scala, I did something I rarely do: I took a mirror selfie.
Even those of us who consider Guillaume Tell Rossini’s greatest opera understand why it has not been his most frequently staged.
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
Unlike Mozart, the young Gioacchino Rossini seldom let his ambitions strain relations with employers.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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