“Trove Thursday” celebrates the thrilling Finnish soprano Karita Matilla in the ultimate diva role.
Gone are the halcyon days of tradition and ritual.
So, um, I guess we can agree that words are more important than music?
A live broadcast of the prologue to Ariadne auf Naxos featuring Julia Varady, a favorite sopranos in a role she sang only rarely.
If everything you see is great, you are either new to opera or chronically easy to please.
“Did you ever have the feeling that you wanted to go, and then you had the feeling that you wanted to stay?” This soul-searching question is likely running through the mind of Renée Fleming.
“If you’ve overdosed on Der Rosenkavalier in the past week, let’s go back a few years to Richard Strauss’ first operatic hit: Salome.
“Trove Thursday” offers a Der Fliegende Holländer from New York City Opera featuring the underrated American soprano Johanna Meier.
Sunday afternoon’s all-Richard Strauss concert served as a de facto commemoration of the 25th anniversary of the debut of Renée Fleming, long one of the house’s biggest stars.
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
The Canadian Robert Carsen would appear to love the theater to the point of fixation.
Richard Strauss’s many one-act operas make excellent concert programs, both for their length (usually under two hours) and the primary place each gives the orchestration, a specialty where Strauss’s brilliance seldom deserted him.
Christian Thielemann’s spirited, precise conducting and the superb, sumptuous playing of the Staatskapelle Dresden are the finest features of this strongly cast performance of Strauss’s Arabella.
“With radiant looks, we shall depart this world,” sing Konstanze and Belmonte near the end of Mozart’s exotic yet charming opera Singspiel Die Entführung aus dem Serail.
Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
Capriccio skates along on a fine line between a fascinating idea-driven debate about the purpose of art in the wider world and a rather fussy narrow debate about text and music interesting only to those interested in opera as theatre.
It seems a thing incredible but fifty years ago Richard Strauss was regarded as the wunderkind composer of a few tone poems, three notable operas (all produced before the First World War) and then nothing notable during forty years of repetitious senility. Even Ariadne auf Naxos, today one of the most popular works in the…
As usual when it’s a Fleming Flapper doing the writing, everything is everyone else‘s fault: poor Renée just sort of wanders in off the street and all this stuff keeps happening to her:
La Cieca’s Gal-pal del Golden West, Laura Hope Cruisey, sounds off on Santa Fe, 2007. Can we talk like this? Has Carl Rove turned off the reel-to-reel, before he turned out the lights? Well, since the New York Times seemingly did not cover the Santa Fe Opera Festival 2007, somebody’s got to say what happened…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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