The production by Sebastian Baumgarten is the type of regietheater that’s not a rethinking or reconstruction, but just a hot mess.
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You might be surprised, though, when that title turns out to be Show Boat.
Tonight’s program at the New York Philharmonic, Arthur Honegger’s massive oratorio dramatique Jeanne d’Arc au Bûcher, has been an occasional visitor to the orchestra’s repertoire starting with the performance conducted by Charles Munch in January of 1948.
Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.
Contemporary stagings of Parsifal tend to be spare, abstract affairs scrubbed of religious associations, knights in armor and, sometimes, a grail.
A confession: I have a real love/ hate relationship with Mozart’s Die Zauberflote.
Certain operas are better in theory than practice.
Christian Thielemann’s spirited, precise conducting and the superb, sumptuous playing of the Staatskapelle Dresden are the finest features of this strongly cast performance of Strauss’s Arabella.
The key to enjoying Bellini’s I Capuleti e Montechi is to do a hard factory reset and reformat your brain to forget all other works based on Romeo and Juliet.
Newton’s Third Law of Motion states that for every action there is an equal and opposite reaction.
The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation.
Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.
I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.
After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”
One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.
The appeal of Ariadne auf Naxos (for me anyway) is the acknowledgment that underneath it all, opera (and all other forms of “high art”) is really show business.
None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.
A good performance of a Rossini opera buffa usually bubbles along merrily.
After a long summer drought, suddenly new Blu-ray and DVD releases are falling, as it were, from the sky.
It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.
For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.
The Salzburg Festival has long had the image of this place where for a little over a month, the very best singers are brought together with the very best conductors and the very best directors to create the very best productions the opera world has to offer.
Some ideas are so absurd that the only way to describe them is to simply use the liner notes.
With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.
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