Decadent genealogies
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
9 pieces since 2019 — in 5 roles, at 4 companies, most often at Metropolitan Opera.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
Lincoln Center is in full diva mode. Or at least that is what it seemed as I passed the line of posters outside Alice Tully Hall for the forthcoming Maria Callas biopic.
How appropriate that the Met should present this supposedly “Jewish” opera after many in the audience had just spent twelve days immersed in the genuine article over the High Holy Days.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
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