Nina Stemme’s program guided her audience through a period of musical history that explores themes of love and mortality with texts that traverse emotional extremes.
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
Nina Stemme’s Elektra is familiar to me in three different incarnations.
Tristan has been the season-launching opera three times before now, but good luck finding someone to provide a firsthand account of the last time.
So what’s up with Nina Stemme’s Stimme?
I think the sturdier of you will enjoy Nina Stemme’s Elektra from Saturday night at Wiener Staatsoper.
At the Opernhaus Zürich, the coat check is not optional.
The winners of the ninth annual F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence (or, as they are colloquially known, the “Opera News Awards”) have been revealed.
La Cieca celebrates (if that is the word) the first snowfall of the season in New York in the traditional manner.