After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.
The legendary Italian soprano Magda Olivero has died.
None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.
As One is an opera about a boy growing up to discover that he is a girl.
After listening to “Stella di Napoli,” her mightily impressive new CD
of rare bel canto arias just released by Erato, I felt many of the old sparks reigniting.
With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.
Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress.
This past week of contract negotiations at the Metropolitan Opera has been notable for the absence of any new PowerPoint presentations or fustian proclamations.
Mark Morris’ staging of Acis and Galatea at Lincoln Center is everything good about summer condensed into two hours.
In recent years the enterprising Dell’Arte Opera Ensemble has brightened the usually arid weeks of August in New York City with some worthy operatic showcases for young singers.
A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.
La Cieca has discovered that the independent auditor chosen by the Met, AGMA and Local 802 to report on the company’s finances, Eugene Keilin, is a major donor to the Met, giving at least $25,000 in 2011-2012 according to that season’s Annual Report.
Sondra Radvanovsky lent her luminous voice to Chamberfest for what was an unexpectedly unique recital.
The MET Orchestra musicians who, we are assured, ‘love the Metropolitan Opera and want it to succeed” have revised their PPT deck to identify what they claim is an additional $1.2 million in cost savings to the company…
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
La Cieca has come into possession of an interesting presentation, with fonts and everything, from Local 802, American Federation of Musicians, and the Metropolitan Opera Orchestra, outlining their solution for the current financial crisis at the Metropolitan Opera.
Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts.
“Who will dare dance with me the ancient Dagger-Dance of the Californians?”
Opera-lovers who attend too much modern opera may find that it feels like duty.
Zofia Posmysz spent two years as a prisoner in Auschwitz—and she’s still alive and standing pretty tall, in New York for the Lincoln Center Festival God bless her.
In response to repeated urging by La Cieca, Our Own Dawn Fatale has contributed a “to do” list for the benefit of Met management, assuming the company makes it out of this summer alive.
The Salzburg Festival has long had the image of this place where for a little over a month, the very best singers are brought together with the very best conductors and the very best directors to create the very best productions the opera world has to offer.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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