Thoughts on Andrea Chénier: the others
There were, of course, other Chénier recordings beyond the truly great ones…
Metropolitan Opera
Playing in the rafters
Opera took center stage on the final weekend of the Philadelphia Orchestra season.
Thoughts on Andrea Chénier: the greats
Quite simply, the singers are not around today who are steeped in the tradition of verismo, or for that matter the later part of the 19th century.
The age of Innocence
The score for Innocence was menacing yet comforting, and, essentially, violent and peaceful at the same time
Speaking of tradition
You can imagine my surprise at encountering an almost wholly traditional staging with one teensy difference.
Thoughts on Andrea Chénier: the opera
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
Try and try again
Matthew Polenzani strode into the Park Avenue Armory’s Board of Officers Room last Monday evening and was received like a beloved friend–and indeed that is what he is to many of New York’s opera-goers.
The red attachment of women
Washington National Opera’s final production of the season, seen May 22, is also its high point: a new Turandot directed by Francesca Zambello, updated to the 20th century and featuring the world premiere of a completion of Puccini’s score by composer Christopher Tin and playwright and screenwriter Susan Soon He Stanton.
Monuments man
It has been a great season for prolific Bay Area composer Jake Heggie.
Flower maiden
Erin Morley closed Vocal Arts DC’s season on May 13th with a recital in the Kennedy Center’s Terrace Theater, partnered by pianist Gerald Martin Moore.
I’m a stranger here myself
In 1982 I saw Turandot at the San Francisco Opera, the year after I became an opera fan, and it was my first live opera.
Dagonistic pluralism
To bring a well-known story to the stage, many methods are available.
Carmen, domesticated
On May 2, Rebecca Herman‘s conceptualizing of Carmen was a significant departure from the traditional depiction of a marginalized “other,” maintaining a traditional staging in Seville.
Fox on fox
The Cunning Little Vixen, Leos Janacek’s late-career opera—a wonderous work with an almost miraculous sense of charm and poignance—has found significant success in conservatories.
Come to the record store in old Peking
In the lead up to LA Opera’s mounting of Turandot on May 18th (hooray!) I thought I’d touch on some of my favorite recordings and new re-masters I’ve discovered. I have them all.
Je sens une force nouvelle
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
Women of the Hours
In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.
Voce di donna o D’Angelo
Her star is indeed on the rise, but squarely on her terms.
No strings attached
Madama Butterfly is the opera of the moment.
On the road again
When it premiered at the Opéra Comique in 1875, Carmen shocked audiences with its frank depictions of female sexuality, the proletariat, and violence: subjects that have ensured the piece’s continued relevance and that have inspired numerous retellings and revisions.
The voice of spring
“I come, I come! ye have called me long;
I come o’er the mountains, with light and song”
“I just sing whatever I can get my throat around”
Rachel Willis-Sørensen might be the greatest American soprano right now who doesn’t sing much in America.
Miracle on 64th Street
Only connect! So sayeth E.M. Forster (via Margaret Wilcox) in Howard’s End.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).