Cher Public

Dead nacred

La Cieca (not pictured) surrenders, cher public: she can no longer bear the burden of opposing ignorant, hysterical pearl-clutching on the internet. The clutchers have won. Read more »

Up to speed

“New York is great. Opera is great. They deserve each other. So what can we do to get them together? Who can show us how it’s done? We need to ask the Germans.” [New York Observer]

Cooting edge

“Siegfried in schoolboy shorts cooking a sword on a mobile canteen; Mélisande holed up in welfare accommodation, with Pelléas sadistically tying her to the wall by her hair… Carmen trying in vain to be a centre of erotic attention while a near naked chorus copulates on stage; Mozart’s Entführung aus dem Serail set in a Berlin brothel; Verdi’s masked ball with the assembled cast squatting on toilets so as to void their bowels…” Fans of the “context-free laundry list” school of opera criticism will be happy to know that “the world’s preeminent philosopher in the field of aesthetics,” Roger Scruton, has now shouldered the white man’s burden of rescuing the art form from interpretation. [Future Symphony Institute]

Words and music

As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.

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The grandeur that was Rome

Some thoughts about the perishability of opera productions follow.

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Love it to death

Mariusz Trelinski will direct Tristan und Isolde for Metropolitan Opera in a production that will premiere there on opening night 2016.

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Flame war

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.

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Timor di me? Security!

Anna Netrebko (Leonora) is seen during the Il Trovatore photo rehearsal on August 4, 2014 in Salzburg, Austria.”

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