Brigitte Fassbaender’s acid-laced production of La finta giardiniera leans into the absurdities of Mozart’s early dramma giocoso.
Calixto Bieito‘s production of Idomeneo at La Monnaie is anchored by a committed cast, but gets swept up in pseudo-psychoanalytic imagery — and foot fetishism.
Despite some fine performances, Così fan tutte at the Livermore Valley Opera doesn’t quite click into place.
The St. Louis Symphony Orchestra under conductor Stéphane Denève plays up the schtick in a concert performance of The Magic Flute – and obscures Mozart’s magic in the process.
Ombra Compagna, out today on Pentatone, spotlights Lisette Oropesa in 10 of Mozart’s most challenging concert arias accompanied by Il Pomo d’Oro conducted by Antonello Manacorda.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
“The Greek drama affords us one character which, had Shakespeare studied it in the three great tragedians of that people, and then, preserving Greek manners as ably as he did Roman, written it from his own heart and mind, might have been worthy to succeed the greatest achievement of the stage.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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