She wants to be a primadonna
On Saturday I attended the premiere performance of a new production of Ariadne auf Naxos at the Festspielhaus in Baden-Baden, Germany. It was Renée Fleming’s debut in the title role…
12 pieces since 2008 — in 8 roles, at 4 companies, most often at Metropolitan Opera.
On Saturday I attended the premiere performance of a new production of Ariadne auf Naxos at the Festspielhaus in Baden-Baden, Germany. It was Renée Fleming’s debut in the title role…
La Cieca’s spy reports from the Met: “A promising and delightful final dress of Ariadne yesterday.”
Chandos’ Opera In English series continues with a new two-disc set of Strauss’ much-admired Ariadne on Naxos, with the Hofmannsthal libretto translated by Christopher Cowell. Sir Richard Armstrong conducts the Scottish Chamber Orchestra and a starry if uneven cast led by Christine Brewer in the title role. This reviewer has never fully warmed to the […]
Later this month the Met at last revives its striking Herbert Wernicke production of Die Frau ohne Schatten, prompting a Chris’s Cache preview of three live recordings of Strauss and Hofmannsthal’s fanciful if knotty masterpiece.
I have been tossing and turning over La Cieca’s most recent assignment for me: a CD of Wagner’s Der Fliegende Holländer based on a performance live in concert from November 13, 2010. The anxiety mainly stems from the fact that, horror to say, I am no Wagnerite. I know that sect of opera buffs has […]
So what’s up with Nina Stemme’s Stimme?
Turandot finally arrives on Trove Thursday, but it’s the setting by Ferruccio Busoni which predates by a decade the one by that other Italian guy, and it’s paired today with Arlecchino, the composer’s other commedia dell’arte-influenced short opera.
Marek Janowski’s second recorded Ring cycle began on an off note, with a Rheingold that was fleet and lucid but failed to impress in the important musical moments.
Could Marek Janowski do for Wagner what the early music movement did for the Baroque and Classical repertory?
Christian Thielemann has proved himself to be the preeminent Strauss interpreter of the current generation of conductors and he’s in striking form here.
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