I really cannot exaggerate the extent to which I truly did not know what was going on in New York City Opera’s production of Maria de Buenos Aires.
In the program for Opera Omnia’s production of Monteverdi’s Il ritorno di Ulisse, Crystal Manich, the company’s stage director, speaks of producing “baroque works in non-traditional ways.”
It has always puzzled me—and I’m not the only one—that so few successful operas have been composed in Spanish.
I could feel my face (to say nothing of my spirits) sink as I opened an envelope from La Cieca containing a new Decca CD
to review.
Noticing how often she turns up lately, one might guess that the operatic “heroine” for the global economic crunch is Medea, the mythological Greek sorceress and filicide.
I have just come back home from Le Poisson Rouge, a stylish multimedia art cabaret in Greenwich Village where Decca offered a sneak peak of Cecilia Bartoli‘s DVD Sacrificium, which will be released some time next year. I normally don’t drink liquor, but my duty as a reporter obliged me not to refuse a special…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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