The rest is silence The rest is silence

Despite the diminishing returns of her vocal means, Edita Gruberova‘s last years of her career were if anything more successful than ever.

on September 22, 2022 at 4:24 PM
A fantastic four A fantastic four

These are my findings and opinions (and I welcome rebuttals)!

on September 21, 2022 at 2:07 PM
Edita Gruberova enters the 21st century Edita Gruberova enters the 21st century

The worst criticism perhaps was the gleeful Schadenfreude noting Edita’s voice wasn’t as under her command as it used to be.

on September 20, 2022 at 3:36 PM
Como crosses over Como crosses over

I feel that any singer attempting crossover would do well to listen to Perry Como to hear how it should be done.

on May 20, 2022 at 2:37 PM
The many faces of Perry Como The many faces of Perry Como

To give an idea of how well Perry Como was able to “assume” different vocal identities, here he is doing his mega #1 1953 hit, “Don’t Let The Stars Get In Your Eyes.”

on May 19, 2022 at 3:26 PM
Perry Como: a Postscript Perry Como: a Postscript

In observation of the 110th birthday of Perry Como, May 18, 1912.

on May 18, 2022 at 3:47 PM
From A to Z From A to Z

Has there ever been a more perfect opera to watch after a breakup than Ariadne auf Naxos?

on March 18, 2022 at 8:22 AM
(Yet more) Thoughts on ‘Don Carlos’: Coronations and finales (Yet more) Thoughts on ‘Don Carlos’: Coronations and finales

In any case, we are now in the Queen’s garden of the Palace in Madrid. It is the day before the coronation of King Philip. Coronation? What coronation?

on February 27, 2022 at 3:55 PM
(More) Thoughts on ‘Don Carlos’: Carlo or Carlos? (More) Thoughts on ‘Don Carlos’: Carlo or Carlos?

The only correct version of  Don Carlos must be in French. That is the language that Verdi composed it in and he made all his revisions in that language.

on February 26, 2022 at 2:06 PM
(Some) Thoughts on ‘Don Carlos’ (Some) Thoughts on ‘Don Carlos’

In online discussion on “Favorite Opera” and cuts in opera in general, it seems Don Carlos (in its original French title) or Don Carlo (as it is better known in Italian) – with or without the “s” – generally get the most votes both as favorite and as an opera from which deplorable cuts are made.

on February 25, 2022 at 12:42 PM
That’s why I pulled the trigger That’s why I pulled the trigger

Watching Gloria Grahame—lips moist and parted, eyes staring off into some faraway middle distance—is absolutely arresting. She looks like the quintessential Noir femme fatale that was, in fact, probably her principal calling card.

on August 31, 2021 at 12:49 PM
Confrontation, catharsis and crisis Confrontation, catharsis and crisis

One by one, we see the principals arriving at the eerily empty building. Something about watching them—masked and in street clothes, struggling with umbrellas—was almost unbearably emotional for me.

on May 12, 2021 at 11:44 AM
One more kiss One more kiss

Without attempting to rival The New York Times’ enormous celebratory package, your doyenne lauds the golden anniversary of the Broadway opening night of the seminal musical Follies with a selection of parterre box and parterre box-adjacent pieces devoted to this gorgeous monster of a show.

on April 04, 2021 at 1:14 PM
Monsters don’t die early Monsters don’t die early

Sweet Bird of Youth closes out an undeniably successful decade for Tennessee Williams, on stage and screen, and bisects his body of work, with his mature hits on one side and his experimental, often lambasted later plays on the other.

on March 31, 2021 at 10:53 AM
Somebody up there likes him Somebody up there likes him

The flawless, classical singing style of Perry Como. Perry Como?

on March 15, 2021 at 11:02 AM
Original ‘Sin’ Original ‘Sin’

I can safely say that this is the gay drama I’ve been waiting for: a genuinely devastating drama that doesn’t treat its characters like lambs waiting for the slaughter or overdose on weepiness, and a queer narrative that unapologetically centers the queer perspective.

on March 03, 2021 at 12:08 PM
Peyton Place on the Riviera Peyton Place on the Riviera

If The Night of the Iguana is not exactly a day at the beach, it’s not really the dark night of the soul it should be, either.

on February 15, 2021 at 9:25 AM
Stopping by Philly on a snowy evening Stopping by Philly on a snowy evening

As I don’t need to remind you, we are fast approaching the one-year anniversary of COVID quarantine—and for the arts, it remains a scenario of giveth and taketh away.

on February 08, 2021 at 11:47 AM
Wild things leave skins behind them Wild things leave skins behind them

We shared a feeling that writing about The Fugitive Kind was a date with destiny.

on February 03, 2021 at 10:22 AM
Everybody is nothing until you love them Everybody is nothing until you love them

Truly, I think it would be almost impossible to overpraise Anna Magnani in a performance that’s absolutely riveting from start to finish

on January 18, 2021 at 1:32 PM
Out of frame Out of frame

In the past when I’ve read through the scads of year-end best lists, there have always been a few titles that I just didn’t “get” but there were more than usual in 2020.

on January 06, 2021 at 10:53 AM
Lady drinks the booze Lady drinks the booze

I’ve said it before, and I’ll say it again: nobody hits rock bottom like Susan Hayward.

on January 04, 2021 at 9:20 AM
I guess that’s why they call it the blues I guess that’s why they call it the blues

The first thing I noticed about Ma Rainey’s Black Bottom is how it’s been slimmed down and punched up—clocking in at just 95 minutes, it hits all the marks of August Wilson’s original while smartly settling into a snappier, more focused filmic style.

on December 21, 2020 at 9:00 AM
I soil easily I soil easily

I have to say I struggle with I Want to Live! The camp appeal of it—including Hayward’s performance—is undeniable… yet it’s also a sincere and even important movie.

on November 30, 2020 at 10:00 AM