The opera is life affirming, but also recognizes that life comes to an end.
Perhaps the conversation about Rigoletto and disability isn’t limited to physical appearance. What if we broaden the scope of what disability in this opera might look like?
A perfect escape for a city laden with recent layoffs and job cuts coming into Holiday season
Arts Council England, as a global policy trendsetter, may have sounded the death knell for the international opera industry as we know it.
One wonders whether an obsession with metrics and measurement has the potential to create arts organizations that are more preoccupied with finding systems that quickly and efficiently tick the Arts Council’s boxes than with creating meaningful, impactful art.
Trove Thursday’s belated contribution to last weekend’s Platinum Jubilee is a broadcast from Aldeburgh of Benjamin Britten’s Gloriana with Christine Brewer and Tom Randle as Elizabeth and Essex, an opera which premiered 69 years ago yesterday.
This is an exuberant, uplifting, and joyous Elisir, and, for once, it was actually laugh-out-loud funny.
The turntable set looks much the same from any angle: gutted concrete tenements and perilous alleys, instantly recognizable as a scene of urban guerrilla mayhem.
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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