Cher Public

The Life and Death of Colonel Canard

La Cieca can’t even

“…the grandest opera houses, where the better tickets are exorbitantly priced, are attended by people who want a good evening out, but are actually presented, as often as not, with what are often called ‘radical rethinkings’ of familiar or even not very familiar works, where the director has chosen to ‘deconstruct’ or ‘subvert’ the opera, so that instead of sitting there passively—this is the idea—the audience will be, in best Brechtian mode, forced to think rather than feel, to feel themselves ‘challenged’ rather than moved.” [The Spectator]

The tutti frutti canard

“An opera production should look the way the music sounds.” — Lady Valerie Solti

Indeed a great chance to be a canard

“Verdi revered Shakespeare and would turn over in his grave.” [The Opera Critic] Read more »

The opposite of canard is truth

“Is Parsifal, then, a religious artwork, or is it a work ‘about’ religion?”

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The canards begin at Calais

Nicholas Hytner‘s ENO production of Xerxes, unveiled on the 300th anniversary of Handel’s birth and packed with visual conceits, might be seen as marking the beginning of the modern Handel renaissance on stage.”

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Les trois canards

“It’s often said that Verdi wrote [Violetta’s] music with three different voices in mind: a light, leggero soprano for the first act, a lyric voice for the second and a dramatic for the third.”

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Canard en retard

Please forgive the lateness of this week’s howler, which in any event is something more of a squeaker anyway.

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Canard als Gast

This week’s canard is contributed in by the artistic director of Gotham Chamber Opera, Neal Goren.

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