Uncloistered
Let’s all cast our minds back to March of 2020. Or, better, let’s not.
Review
Letting their hair down
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
Great and happy, but not quite live
This was a great and happy event, but it wasn’t so much a musical one.
Love for sail
Last weekend, On Site Opera presented What Lies Beneath, a program of maritime-themed operatic excerpts staged aboard the 19th century schooner Wavertree (now a part of the South Street Seaport Museum).
Tenors al fresco
Lawrence Brownlee and Michael Spyres are two singers at the top of their game, as this concert showed, virtually peerless in music as punishing as it is pretty.
The real king
Bay Street Theater deserves enormous credit for transforming Camelot from a clumsy historical epic into a breezy, human fairytale about leaders who cannot lead.
On the edge of my seat
The San Francisco Opera became the first US opera company to present a full-blown production indoors on its home turf this season when they ushered the US opera audience into 2021-22 Season on Saturday September 21 with a stellar performance of Giacomo Puccini’s perennial favorite Tosca.
Reorientation
Concerts at Wolf Trap, mixed bags in more ways than one, provided fleeting glimpses of the old normal as moments of frisson mingled with more familiar monotony.
The curious case of Benjamin Bernheim
Who’s been hiding tenor Benjamin Bernheim from me all this time?
Round Table discussion
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
Charisma and chemistry
For this revival of Tosca Teatro Real has configured several casts with some of the best singers in the world: Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazov, Jonas Kaufmann, Carlos Álvarez, Gevorg Hakobyan and Luca Salsi.
Rossini al fresco
Last night, for the first time in nearly a year and a half, opera returned to Lincoln Center.
Can we still be friends?
As soon as James Clutton, the new Opera Holland Park director, stepped on stage to welcome the audience, we all knew that we were not at the typical English summer opera festival.
Sisters are doing it for themselves
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
War! What is it good for?
The crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
Joust in time
Zachary James builds on his early career experience as a musical theater performer to deliver a thoughtfully crafted, blessedly restrained Quixote/Cervantes.
Headless “Girl” in a topless bar
Today’s listener has heard the scores of the classic Westerns that borrowed from Puccini (and Wagner!) to create the sound of the myth of the West.
Her kind of woman
Plucked from obscurity by Howard Hughes and sold to the public as a buxom, brunette heir apparent to his former protégé, Jean Harlow, Jane Russell became a household name before she ever shot a single reel of film.
Love letters
March 2, 2020 – June 18, 2021: Those 15 months were the longest I’ve gone without attending a live opera performance since high school.
Selling the drama
Though the formal recorded aria recital is the ultimate calling card of an artist, the invitation to the spectator to receive, listen, and critically behold of the offerings (on fire or burnt), they are but a souvenir and there are a few drawbacks inherent with the presentation.
Crossroads
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
Skyscrapers marching on
If you have not been following the exploits of Teatro Grattacielo during lockdown, it’s not because they haven’t been exploitatory all over the place.
Telling the world we are not invisible
Director Jon M. Chu’s film adaptation of Lin-Manuel Miranda’s In the Heights has come around at exactly the right moment.
Awaiting faith
Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).