Busyness as usual
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
René Barbera
14 pieces since 2008 — in 7 roles, at 5 companies, most often at Metropolitan Opera.
14
pieces
7
roles
5
companies
19
years
Role Almaviva
Role Count Almaviva
My name is Barbiere
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
Role Iopas
Not since Ilium
As I mentioned in a previous post, one of my two favorite operas is Les Troyens,
Fou fighter
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
Role Italian Singer
Somewhere in time
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
Sweetness and light
This was a Rosenkavalier that aspired to excellence and almost achieved it.
Role Lindoro
Period piece
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
Role Ramiro
Angelina’s ashes
Kitsch is alive and well in Rossini’s La Cenerentola at the War Memorial.
Role tenor
Revelation
Beg. Borrow. Steal. Bargain. Cajole. Seduce. Threaten. Extort.