Leonie on the Nile
Leonie Rysanek, would have turned 90 today.
Leonie Rysanek, would have turned 90 today.
>What does a great opera production do, and what does a bad production fail to do?
At the election-eve Jenufa at the Met, Trumpism made an unexpected, if timely appearance.
What to do with all those glorious short operas: play them alone or find companion pieces?
The 2016 Richard Tucker Award recipient is Tamara Wilson.
Verdi’s Macbeth gets true blood-and-guts treatment from Guillermo Sarabia and the legendary Marisa Galvany.
The centerpiece of Janácek’s Jenufa was the performance of Karita Mattila as the murderous Kostelnicka.
“Take a good deal of trouble with it, because it is a fine subject, delicate and full of pathos.”
The good news is that the first concert was devoted to the exceptional artistry of Lawrence Brownlee.
A simply gorgeous performance of Gluck’s Orphée et Euridice starring Juan Diego Flórez.
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.
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.
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.
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.
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