Speaking of dementia in opera, all I can think of is the extraordinary reimagined production of Béla Bartók’s chamber opera Bluebeard’s Castle that I saw at Atlanta Opera in October 2022.
Back to Brussels last Sunday for my third new opera of the season (after The Time of our Singing, also at La Monnaie, and Picture a day like this, at the Opéra Comique): Mikael Karlsson’s Fanny and Alexander, with a libretto by Royce Vavrek.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
If it is true that there are few respectable ways for people over 40 without small children to celebrate Halloween, a performance of Richard Strauss’ pioneering horror opera Elektra belongs on the short list.
At the opening of the Scottish Opera’s 2017 production of Turnage’s opera Greek, I was very sorry I’d missed Anna Nicole.
This week we get closer to completing the operas of Benjamin Britten with The Rape of Lucretia.
I have always wanted to see a production of Strauss’ Elektra that made my ears bleed.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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