(Credit: Mikel Ponce) The Teatre de Les Arts opened his season on the 27th of September with “Le Nozze di Figaro” by Mozart. The famed composer’s music is performed quite often at all levels of the opera world, but it does not by any means make it easy to sing. The Mozartian style demands purity of the line, clean attack {…}
Shining Brow tells of events in the life of Frank Lloyd Wright.
(Credit: Chris Lee) September 27, 2019, saw the second performance of the New York Philharmonic’s cerebral double bill, comprised of Bartok’s “Bluebeard’s Castle,” and Schoenberg’s “Erwartung.” Both works delve deeply into the psyche to explore themes of love, loss, trust, betrayal, and more. Joined by some truly magnetic soloists, Jaap van Zweden and the Philharmonic succeeded in bringing the music, {…}
(Photo: Barbara Aumueller) “They have been crucifying our Othello into an opera,” was Lord Byron’s reaction on seeing a production of Rossini’s “Otello,” continuing “Music good, but as for the words… …and the greatest nonsense instead.” Even Stendhal, a keen supporter of the composer, was angered by the work, suggesting that his music should be reset to Shakespeare’s text. The {…}
On Sept. 20, 2019, Talents of the World returned to Carnegie Hall for an exciting concert, titled “David Gvinianidze and Friends.” Featuring a lineup of not just established artists, but winners of Talents of World’s “International Youth Music Competition” in Georgia, what ensued was a breathtaking showcase celebrating cherished works while introducing fresh and highly talented new artists. The night’s {…}
(Credit: © BAUS) Canadian director Robert Carsen is one of the most solicited directors in every major opera house nowadays and he proved why in his new production of the famous double bill of “I Paglliacci” and “Cavalleria Rusticana,” which opened the opera season at the Dutch National Opera. It is a production where he plays with theatre-within-theatre concept, making {…}
(Credits: Vytautas Abramauskas) “Thanks for coming to our audition,” a charismatic bellboy told visitors in the hall before the performance. With a quirky smile, he handed everyone an old school ticket with a number on it. “We are looking for musicians, singers, and servants.” That’s how an operatic performance of Telemann’s “Pimpinone” began last Sunday during this year’s Banchetto Musicale {…}
(Credit: Ken Howard / Metropolitan Opera) It was supposed to be the hottest ticket in town. It was the first time Anna Netrebko and Plácido Domingo would grace the Metropolitan Opera together in a production. But we all know how that turned out. For weeks, Met audiences had no clue what to expect. The company said nothing as it awaited {…}
(Credit: Thomas Aurin) This review is for performances on September 14 and September 18, 2019. The Deutsche Oper in Berlin started its new 2019-2020 season with a rather courageous project – a new production of Giuseppe Verdi’s bleakest opera “La Forza Del Destino” directed by Frank Castorf. When the new season was announced back in March this year, there were {…}