Look, for one of the most-staged operas in the repertoire, Mozart’s Die Zauberflöte seems awfully difficult to stage.
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Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
A grand concert from Angel Blue has Patrick Mack wondering, “where’s her crossover album?”
William Kentridge‘s eclectic The Great Yes, The Great No arrives at Cal Performances.
Huw Montague Rendall’s new release Contemplation has been spinning in both my car and home players repeatedly for months now.
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
Christina Nilsson‘s debut enlivens the Met’s new Aïda.
Karen Slack is downright magisterial in her recital African Queens.
A stylish and funny Così fan tutte at LA Opera is a pretty glam affair, according to Patrick Mack.
The new musical starring Idina Menzel, ostensibly a paean to back-to-naturism, could hardly feel more manufactured and synthetic.
In Opera Parallèle’s The Pigeon Keeper, Michael Anthonio finds a timely message of kindness during hard times.
Washington Concert Opera delved into Mozart for the first time earlier this month with the composer’s once neglected penultimate stage work, La Clemenza di Tito, led by Maestro Antony Walker.
David Fox and Cameron Kelsall review Rebecca Frecknall’s new staging of A Streetcar Named Desire at BAM, “a gripping realization that makes new a play many of us feel we know inside out.”
John Yohalem reports on a serendipitous recital from J’Nai Bridges and Joshua Mhoon in Montclair, New Jersey
Some of my blog‘s habitués (they do exist) will know that I sometimes quote the people around me at the opera.
The term “narrative prosthesis” refers to the tendency for works of literature to use disability as the conflict upon which the whole narrative hinges. Herman Melville’s Moby-Dick is a quintessential example of “narrative prosthesis.”
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
One of the highlights, if not the highlight, of No-Met-February was an all-Ravel evening presented by the Juilliard Orchestra.
As I mentioned in my last article (on the subject of Calixto Bieito’s production of Das Rheingold at the Paris Opera), in what the French might call une histoire belge, La Monnaie’s Ring cycle started with Romeo Castellucci as its director, and is now ending with Pierre Audi.
Opera San José (OSJ) is continuing the second half of its 41st season with a company premiere of Béla Bartók’s Symbolist opera Bluebeard’s Castle (A kékszakállú herceg vára), with a libretto by his friend and poet Béla Balázs, and OSJ truly spared no effort to make the occasion a memorable one.
Sitting in Park Avenue Armory last week for the American debut of baritone Konstantin Krimmel, the rush of joy I felt was two-fold.
My first introduction to Béla Bartók’s one-act opera Bluebeard’s Castle was the musicologist Susan McClary’s infamous book Feminine Endings. Here, McClary likened her search of a feminist musicology to Judith’s journey through the seven doors; a journey that ends in Judith’s symbolic death.
Even if our monolingual American tourists can be the source of vexation for many a Parisian, our singers gave much for the city’s operagoers to admire this month in stylish productions of Semele at the Théâtre des Champs-Élysées and I Puritani at the Opéra Bastille.
Larry Wolff continues his musings on Verdi’s varied career, this time over Giovanna d’Arco at the Teatro Regio in Parma
