The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
BAM is back!
Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
It’s been eight decades since darling Aix-en-Provence was under attack—its last formal invasion, at least by non-operagoers, was in 1942 during the German occupation of southern France. But on Friday, the town was besieged once again by its annual festival, with two dazzling premieres that examined the cruel and constructive dimensions of war and revolution.
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
Among several fine productions at Aix this summer, Dmitri Tcherniakov’s brilliantly conceived and executed Carmen proved a game changer.
A confession: I have a real love/ hate relationship with Mozart’s Die Zauberflote.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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