Mark, missed
Thoughtless direction stifled the epic drama.
Thoughtless direction stifled the epic drama.
Adriana Lecouvreur with the 1970s dream cast of Montserrat Caballé, José Carreras, and Fiorenza Cossotto.
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
Lyric Opera of Chicago’s 2016-17 season got off to an exciting start on Saturday night with Wagner’s Das Rheingold.
Jonny spielt auf, the second opera by 26-year-old composer Ernest K?enek, was such a huge success after its 1927 Leipzig premiere that in the following season it was performed 491 times in Germany alone.
How Verdi’s opera might address this particular nightmare was unclear.
Mariusz Trelinski unveiled a rather gloomy, though musically satisfying, Tristan und Isolde.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
The Teatro di San Carlo in Naples is a pearl itself and this presentation proffers some of the best that company has to offer.
Now we have considered the three “winners” in the Tristan competition, let’s turn to the also-rans, or, to be more optimistic, the runners up.
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
Your alte Jungfer’s requisite Kuschelkatze (pictured) arrived on my doorstep in Mariahilf with the name of Tristan.
Just 85 years ago, four of Italy’s greatest opera stars gathered at Teatro all Scala for an historic event: the first-ever recording of Arrigo Boito’s sole complete opera, Mefistofele.
David Lang is, per The New Yorker, a “postminimalist enfant terrible.”
Anna Netrebko‘s artistry is both subtle and thrilling.
Idomeneo proved enormously moving while a much more complicated Così fan Tutte went for shallow romantic hijinks stripping that work of its darkly ambiguous disturbing view of love.
Falstaff, Verdi’s totally unexpected, final, great comedic roar.
As promised, “Trove Thursday” offers Don Quichote chez la duchesse, a second nearly unknown opera based on Cervantes’ towering literary masterpiece.
I was hopeful that my next operatic engagement would offer greater rewards: Norma at the Edinburgh Festival.
I am happy to finally add Les contes d’Hoffmann to the playlist in a Salzburg performance from 2003 with Neil Shicoff in one of his parade roles.
Florence Foster Jenkins, a new film directed by Stephen Frears, celebrates a true amateur.
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
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