Bluebeard’s Castle and Erwartung at Canadian Opera Company deliver on fine performances even if Robert Lepage‘s production skimps on horror.
I love Tabori—his staging of Bluebeard’s Castle and Erwartung are among my five favorite opera performances of all time.
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
Peter Sellars‘s triple bill of Viennese modernism featuring Erwartung and a concert performance of The Raft of the Medusa stare down death at the Salzburg Festival
Following Gundula Janowitz and Janet Baker, Chris’s Cache sends birthday greetings to another favorite diva—Karita Matilla—with a quartet of broadcasts.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
“The distance between dreams and reality is called action.” – Brian Tracy
Not in my wildest dreams could I have come up with anything more homosexual than the sight of Almodóvar muse Rossy de Palma in a stage-length wedding gown onstage Madrid’s Teatro Real.
Bay Area audiences starved for vocal fare during its opera’s winter/spring hiatus recently experienced two exceptional concerts with distinguished singing at the Davies Symphony Hall.
Trove Thursday offers Shostakovich’s 1962 Katerina Izmailova with Australian soprano Marie Collier as its anti-heroine and Jon Vickers as her lover.
The opera’s radical vision lay in its enormous scale, which encompassed a hundred-strong community chorus taken from the ranks of the Brooklyn Youth Chorus and Master Voices.
Erwartung and Bluebeard’s Castle returned to Lincoln Center Thursday night in a musically scintillating if theatrically mild double-bill by the New York Philharmonic.
What to do with all those glorious short operas: play them alone or find companion pieces?
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.
They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.
Say this about Oedipus: The character’s got staying power.
The Berlin Philharmonic brought a spooky Halloween treat to New York on Thursday night, just a few days late. They are at Carnegie Hall for a three-night residency, offering the complete Brahms symphonies along with selected earlier works by that ugly duckling of Brahms disciples, Arnold Schoenberg. They are also far from home during Berlin’s…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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