An instrument of your peace
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
6 pieces since 2011 — in 6 roles, at 4 companies, most often at Metropolitan Opera.
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
Tobias Kratzer‘s time-traveling Arabella from the Deutsche Oper Berlin, now available on DVD, turns the opera’s problems into its strengths.
Capriccio skates along on a fine line between a fascinating idea-driven debate about the purpose of art in the wider world and a rather fussy narrow debate about text and music interesting only to those interested in opera as theatre.
By virtue of its subject matter and the auspicious occasion of its commissioning, Louis Riel was destined to be iconic.
It is, as Noel Coward remarked, astonishing how potent cheap music is. According to Brockway and Weinstock’s World of Opera, Gounod’s Faust was performed, after a rather lackluster debut in 1859, a thousand times inParis at the Opera between 1869 and 1894—a gobsmacking average of once every nine days.
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