34 pieces since 2010 — at 1 company, most often at Bregenz Festival.
I was once accused—by my own mother, mind you!—of having too many recordings of Verdi’s Aida. The blistering audacity of that recrimination did get me to thinking: How many recordings of Aida is too many? I mean, you’ve got the old classic you cut your teeth on. Then there’s he one where the tenor and […]
If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.
Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
Giacomo Puccini’s final opus interruptus is and shall always remain my favorite opera. The reasons for this preference are so varied and numerous that if they were printed and bound the volume would most assuredly require its own stand.
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