I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.
Töt erst sein Weib!” shrieks Anja Kampe as Leonore during the very first moments of Andreas Homoki’s ingenious production of Beethoven’s only opera, Fidelio, at Opernhaus Zürich.
Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.
Our Own JJ reviews Orlando and Early Shaker Spirituals in the Observer.
It will come to no surprise to followers of the direction of Stefan Herheim (or to readers of La Cieca’s gushing fangirl appreciations of his work) that his Stuttgart production of Der Rosenkavalier was as “delightfully busy” as we have come to expect.
On Saturday, a new company called Bare Opera gave its first performance, a double bill of Debussy’s L’Enfant Prodigue and Ravel’s L’enfant et les sortilèges, at the Robert Miller Gallery in Chelsea.
Director R.B. Schlather and his team explored Handel’s Orlando and the results, as seen at Monday night’s final presentation, proved uncommonly stimulating.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Many large opera companies these days host valuable young artist programs dedicated to helping singers negotiate the difficult transition between leaving the conservatory and becoming full-time performing artists.
Contemporary stagings of Parsifal tend to be spare, abstract affairs scrubbed of religious associations, knights in armor and, sometimes, a grail.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
Our Own JJ crunches the numbers at the Met and LoftOpera in the New York Observer.
Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry. After several hearings, I’m still not convinced that there is an operatic version of Earnest. […]
Coming from placid, luxurious Geneva, where I am currently living, Berlin felt even more jarring than usual.
“The Met’s revival of Verdi’s Ernani Friday night was every inch a tragic opera, though without being grand in any way. Its grisliest calamity was not the one the composer devised but rather one the production’s star, Plácido Domingo, brought on himself.”
If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.
The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.
What makes Norma such a high-profile role in the soprano repertory?
“’They’re young… they’re in love… and they kill people’ goes the tagline for the 1968 film Bonnie and Clyde, but the slogan could apply almost as well to the outlaw pair at the center of the Metropolitan Opera’s white-hot revival of Massenet’s Manon.”
“Michael Volle is not into bling,” begins an article in ACT-O, the glossy magazine of the Grand Théâtre de Genève.
A confession: I have a real love/ hate relationship with Mozart’s Die Zauberflote.
Donkey dick and other Asian Fusion vaudeville acts arouse “The BAM Effect” at Handel’s Semele.
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).
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