During the 1970s, Stephen Sondheim composed Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd–five richly varied masterpieces of musical theater in a nearly miraculous burst of creativity.
On this day in 1953 the Metropolitan Opera opened its season with a new production of Gounod’s Faust.
The mixture of romance and realism in Sondheim songs, the revelation that while love could be grand and passionate it could also be mundane or inconvenient or mistimed or just plain embarrassing, was such a relief.
When I think of Stephen Sondheim, so many of my memories are not simply about shows of his I loved and learned from—they are experiences that literally shaped my life.
Sir David McVicar’s inept and dreary new production of Bellini’s Norma proved to be more satisfying than it had been on opening night when it returned to the Met Friday evening thanks to its new leading ladies Angela Meade and Jamie Barton
Santa Fe has done a brave and laudable thing is presenting the first major revival of The Last Savage in decades, and if the libretto were, perhaps, translated into Hindu, the production values, excellence of cast, and directorial choices could conceivably work their magic of, if not pulling a rabbit out of a hat, then…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.