Sélection CD L’osmose de deux timbres rares LE MONDE | 13.12.04 | 15h33 First Encounter: Angelika Kirchschlager & Barbara Bonney Classique “Il y a très longtemps, raconte Barbara Bonney, que…
Year: 2004
Elektra at the Oper Duisburg
Elektra in der Oper Duisburg: Ein Leben für den Tod Rheinoper: In Duisburg zeigen Stein Winge und Johannes Schütz Richard Strauss` “Elektra” in einer Welt, die Kopf steht. Duisburg. Alles…
Troubles at the Münchener Bach-Chor
Riss im Ensemble Bach-Chor ins Schlingern geraten Es schien perfekt eingefädelt: ein Konzert zum 50-jährigen Jubiläum, dann sogar mit dem künftigen Chef am Pult. Doch Ralf Otto, der charismatische Wunschkandidat…
Lavinia fuggita at Modena
Lavinia la turca Lavinia fuggita Opera da camera in un atto di Matteo D’Amico libretto di Sandro Cappelletto, liberamente tratto dall’omonimo racconto di Anna Banti prima rappresentazione: Modena, Teatro Comunale…
A Wedding in Chicago: Two Reviews
Altman opera a fitting renovation By Bill Gowen Daily Herald Classical Music Critic Posted Monday, December 13, 2004 It’s rare that a film director has an opportunity for a do-over.…
What’s On Le Figaro’s Christmas List?
Notre sélection de DVD pour les fetes bq. La rituelle ruée sur les cadeaux de Noel passe, cette année encore plus que la précédente, par le déferlement des DVD musicaux…
Rossini’s La Cenerentola at Dallas
Singer is entrancing in a demanding role By Wayne Lee Gay Star-Telegram Classical Music Critic After a weak start with Bizet’s Carmen and a strong comeback with Janacek’s Jenufa, Dallas…
Opera Etiquette
Going to the Theater Miss May The Epoch Times Dec 12, 2004 Dear Miss May: I am very lucky and am able to go to NY soon for a weekend…
Anna Netrebko on 60 Minutes
Anna Netrebko: A Happy Diva Singer Does Opera Music Videos Dec 12, 2004 7:45 pm US/Eastern Anna Netrebko in St. Petersburg Photograph: (c) Peter Rigaud There isn’t a musical instrument…
Demonstrations of the École de Danse of the Ballet de l’Opéra National de Paris
The Paris Opera Ballet School, founded by Louis XIV in 1713—it’s the world’s oldest academy for producing classical dancers—is now located in a utilitarian complex specifically built for it in Nanterre, on the bleak outskirts of the City of Light. But for more than a century it was located in the bowels of the lavish Palais Garnier, at the hub of urban elegance. It was there—cocooned in that opera house’s imposing Second Empire decorative excesses of varicolored marble offset by gilt and bronze; of statues, bas-reliefs, frescos, and mosaics; of deep red plush and heavy figured and tasseled drapery; of an infinity of mirrors and chandeliers—that I saw the daylong program this extraordinary school, the oldest and arguably the greatest of its kind, modestly calls its “Demonstrations.”