Così Island
The Metropolitan Opera gets its freak on — or about as close as it can — in a revival of its Coney Island-set production of Così fan tutte.
The Metropolitan Opera gets its freak on — or about as close as it can — in a revival of its Coney Island-set production of Così fan tutte.
Opera San José opened its season with a new production of Don Giovanni that embraced the opera’s challenges with youthful abandon, even as it was sometimes felled by them.
The Royal Opera House‘s Don Giovanni comes without an instruction manual — but features a fine lothario in Gordon Bintner.
Opera Philadelphia’s production of Mitridate, re di Ponto proves more puerile than perhaps its 14 year-old composer intended.
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.”
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