Judith Malafronte sits down with bass David Leigh who debuts as Rocco in Washington National Opera’s production of Fidelio next week
Trouble was afoot from the first selection onward.
VIctor Herbert demonstrates in this slight, affectionate piece a talent for keeping his musico-dramatic balls in the air, as Madeleine’s spirits juggle, fall, rise again, and droop to elegant resignation at the last.
Rufus Wainwright is determined to offer a spectacle and that intention overrides all other considerations.
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
Out of a literal perforation in the horizon of the Nebraskan prairie emerges Proving Up, the most convincing case I have ever seen for modern American opera.
Rufus (Prima Donna) Wainwright sinks his teeth into a little Mascagni, partnered by a very game Sarah Fox.
“CanCon”, or Canadian Content, is always a concern in Canadian cultural discourse.
La Cieca was cced the following letter sent by a “long-time patron of NYCO” in response to “the recently received Subscription Renewal Brochure.” She has withheld the patron’s name by request.
It’s safe to say that there has been a lot of talk about Rufus Wainwright’s opera Prima Donna, which received its London premiere this week.
La Cieca is no big believer in omens, but she must say that within a hour of Aprile Millo‘s final curtain call on the Met stage Saturday night, all hell broke loose over New York. Not exactly “stars with trains of fire and dews of blood/Disasters in the sun” but certainly a messy and unseasonable…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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