Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
A revival of Peter Konwitschny’s rightly legendary Don Carlos and Dmitri Tcherniakov’s confounding new Salome: both turned out to be unforgettable!
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
A brilliant production of La Juive like that of Peter Konwitschny generalizes the message that mindless hate does not pay and the mindless mob is always the enemy of civilization.
Verdi’s ninth opera, Attila, offers all the noisy music from Nabucco without a “Va pensiero” to cherish.
Patrice Chéreau, the humanist in provocateur’s clothing, returned to Wagner in 2007 at La Scala with Daniel Barenboim and Waltraud Meier.
What we really need, some seem to believe, is fuller representation of the 19th century.
For all their orchestral and vocal attractions, Nikolai Rimsky-Korsakov’s 15 operas are rarities in the West.
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.
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
parterre fave Peter Konwitschny has returned to his métier, directing a new production of Salome — with a happy ending! Following the jump are excerpts from an interview with the director in Volksrant, translated by Our Own Freniac.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.