Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Barrie Kosky’s zany production of The Nose time-steps back onto the Komische Oper Berlin stage.
Tobias Kratzer‘s production of Das Rheingold at the Bayerische Staatsoper was a resounding success.
Tobias Kratzer‘s Das Rheingold in Munich kicks off a Ring for the post-secular age
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that? Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.
I hardly know where to heap my praise first.
It was a night a-tingle with excitement at the Metropolitan Opera House.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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