Twisted sisters
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
5 pieces since 2018 — in 4 roles, at 3 companies, most often at Metropolitan Opera.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
A snarky commentator might dub last night at the Met “Boris of the divo hair flip” but that would do a disservice to a serious, often effective performance of the challenging original version of Mussorgsky’s masterpiece.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
In its first production since departing the Kennedy Center, the Washington National Opera presents a new adaptation of “King of Ragtime” Scott Joplin’s opera Treemonisha.
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