Cher Public

Naked and afraid

crawford_blindWhich opera director’s new position seems to have gone to his head? At a recent round of auditions, he reportedly encouraged the singers to disrobe.

It’s just one letter, but it makes a vas deferens

“But enough about Lou Tellegen,” Miss Farrar snapped.

Dead nacred

La Cieca (not pictured) surrenders, cher public: she can no longer bear the burden of opposing ignorant, hysterical pearl-clutching on the internet. The clutchers have won. Read more »

Cooting edge

Fans of the “context-free laundry list” school of opera criticism will be happy to know that “the world’s preeminent philosopher in the field of aesthetics,” Roger Scruton, has now shouldered the white man’s burden of rescuing opera from interpretation.

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Words and music

As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.

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(Mighty real)

A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.

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Et in Arcadia, libido

A performance space called the Sheen Center has opened its doors way down the far end of Bleecker Street, a stoner’s throw from where CBGB’s used to thrive beside the itsy-bitsy Amato Opera House. (You never forget your first Oberto, Conte di San Bonifacio.)  Sheen Center, sizable and modern and slim on personality, contains two theaters. The smaller one is the Sheen Center Blackbox (18 Bleecker), and it is just the right size (except it lacks a pit) for chamber-scale opera performance.

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Plain and simple

“Michael Volle is not into bling,” begins an article in ACT-O, the glossy magazine of the Grand Théâtre de Genève.

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