Cavalleria rusticana and Pagliacci at Lyric Opera of Chicago are hysterical in all the wrong ways.
A recent review of Olga Maslova as Aïda is as good a reason as any to share a clip of her fascinating Turandot
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.
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.
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
From a musical perspective, the evening came together admirably. As a work of theater, though, it was as stale as last week’s takeout.
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.
The San Francisco Opera, perhaps incidentally, continued their exploration of operas based on literary works by mounting the revival of Giacomo Puccini’s first success, Manon Lescaut.
“Tame” seemed to be the appropriate adjective to describe San Francisco Opera’s Carmen.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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