Which cord does one snip to make a castrato? So goes a running joke in The Last Castrato by Guy Fredrick Glass, a play about Alessandro Moreschi, the last living castrato and the only one ever recorded. Much of his career was spent as the first soprano of the Sistine Chapel Choir, both because of […]
I attend the opera intent on enjoying myself. If the music is not my favorite, there is always something to like, be it a colleague’s individual performance, the discovery of a newcomer, nifty stagecraft or costumes, observing the movement skills of the various singers, or in worst-case scenarios, observing the audience’s boredom, carefully notating the […]
The annual Richard Tucker gala came and went at Avery Fisher Hall with the usual quota of gaffes, wardrobe malfunctions, no-shows, too-much-shows, substitutions and surprise guests (well, guest). And sandwiched between the routine, the egocentric and the just plain dull were moments of true dementia, the moments that we melomanes live and die for. Most […]
Truth is more brutal than fiction. Particularly when the truth is the story of Colonel Floyd James Thompson, whose nine years in captivity in Vietnam made him America’s longest-held prisoner of war. It’s perfect material for a chamber opera: an epic war story focused on the intimacy of a single excruciating life. It seems to […]
I used to think that recital albums, greatest hits albums, and concert albums were just products of a singer’s vanity—or conductor—and that they terribly lacked imagination or preparation or dramatic heft. “Greatest Hits” albums frequently suffer from this affliction, as it is, more often than not, just a mish-mash of what this soprano or that […]
Don Pasquale is one of those operas that make listeners feel very happy and gay, who, after seeing it, live happily ever after and gayer than before. It’s about a whore who needs to get laid, with an eye on the young (once and still bottom) hunk versus the older (once top, yes you guessed […]
“What do you call a sex comedy that’s neither funny nor sexy? At the Met on Tuesday night, you’d have called it Cosi Fan Tutte.” [New York Post]
“Following up on its brassy season opener, Bernstein’s A Quiet Place, New York City Opera is charming audiences with Intermezzo, a comedy inspired by a real-life episode in the life of the opera’s composer, Richard Strauss.” [New York Post]
This review was not going to be primarily about Shirley Verrett. She is not a singer I am all that familiar with and when I was sent this DVD of Tosca to review a week ago, I focused more on the director of the production, baritone-turned-producer Tito Gobbi, than on the singers. But sometimes life […]
According to Our Own JJ, there was skating on the ramparts of Seville last Thursday night. [New York Post]
Although billed as “I Love Lucy the opera”, New York City Opera’s production of Richard Strauss’s conversation-piece Intermezzo offers far more emotional depth than the much-loved 1950s sitcom. Yet ironically, in key moments it lacks the necessary heart which Lucy had in spades.
Just in time for the holidays, Juan Diego Flórez releases the de rigueur Christmas album every internationally renowned opera star seems to make. Entitled Santo, this CD, like most others of its ilk, is pleasantly entertaining. However, Flórez eschews a straight Christmas album for one composed of a mix of religious standards, carols and eclectic […]
“…incest, gay baiting, draft dodging and drunken driving… it’s hard not to giggle!” Our Own JJ reviews the NYCO’s premiere of A Quiet Place in the New York Post.
In 1890 Cavalleria rusticana had taken the whole world by storm and in the next decade or so, hordes of composers, willing or unwillingly, jumped on the Verismo bandwagon. La navarraise (1894) is generally considered Jules Massenet’s homage to the genre, and for a long time the two works were often performed together. Emma Calvé, […]
Lyric Opera of Chicago has entrusted their new Macbeth to Barbara Gaines, Artistic Director of the Chicago Shakespeare Theatre, whose work can be frustratingly inconsistent. She has directed the finest Troilus and Cressida and the finest King Lear that I have ever seen. Yet her recent work has been filled with wretched excess and effects […]
In Measha Brueggergosman‘s newest DG release, “Night Songs…” Oh… sorry! That was Renée Fleming‘s beautiful 2001 Decca release of similar (occasionally overlapping) material. Let me try that again. “In the Still of Night…” Oh… sorry! That was Anna Netrebko‘s voluptuous CD of Russian songs released earlier this year.
I tried so hard to like Elina Garanca’s Habanera, an album of songs and arias about gypsies, but it was really difficult. I would’ve been able write this review earlier and quicker if I could just make myself like the album a lot, or even dislike it so that I could rail against the project […]
The relative obscurity of Karol Szymanowski‘s Krol Roger (King Roger, 1924) can only be blamed on its being in Polish. The music is often as thrilling as anything by Janácek or Bartók, and the libretto by Jaroslow Iwaszkiewicz (heavily adapted by the composer) is as full of provocative philosophical ideas as operas by those composers […]
“Saturday night’s Met debut of Vittorio Grigolo in La Boheme was promising enough to suggest the tenor may one day live up to his own hype.” [New York Post]
“So, how is this new Pavarotti?” or, “This young tenor, what’s his name, I saw him on the morning show, is he any good?” When people who have never set foot inside an opera house—and know Maria Callas chiefly as the woman Aristotle Onassis dumped for Jacqueline Kennedy—start asking me such questions, then I […]
Simpler can be better, as Pocket Opera of New York demonstrated in the back of the Bechstein Showroom on Wednesday evening for their double bill of Ravel’s L’enfant et les sortilèges and Debussy’s La chute de la maison Usher. When I heard these operas would be presented in English with piano accompaniment, I was initially […]
Performance Lab 115‘s adaptation of the first two parts of Wagner’s Ring Cycle, simply titled The Ring Cycle: [Parts 1+2], is a clever, well thought-out, if not entirely successful attempt to mythologize Wagner’s epic within the framework of 1980’s professional wrestling.
“Playthings of the Gods: Essential Myths,” the Vertical Player Repertory’s evening of Monteverdi, Britten and Milhaud, heard October 8, was a satisfying treat. The soloists were excellent, although the venue, Christ Church Cobble Hill, had overwhelmingly boomy acoustics and robbed the audience of any nuance in the voices.
Congratulations to Nicola Lischi, of the younger generation of critics the one with the best developed… knowledge of Italian opera, for his first review on Opera Brittania.
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