A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
Kaija Saariaho’s spectral, shattering Innocence makes its Metropolitan Opera debut.
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
San Francisco Opera has unveiled a brand-new production of Giuseppe Verdi’s warhorse classic La traviata, the first “to be built in San Francisco Opera’s scene and costume shops in 35 years.”
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
With no disrespect to Nadine Sierra, who as Lucia acquits herself honorably if not magically in vocal terms, the undisputed cause célèbre here is director Simon Stone.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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