The Paris Opera Scene

The Paris Opera Scene

The city-funded ThÈ‚tre du Ch‚telet, an operatic David to Paris Operaís Goliath, managed to make the biggest artistic splash of the new season. Richard Wagnerís Die Walk¸re, which opened October 21, following Das Rheingold by two days, was generally well cast, surely conducted and, as staged by Robert Wilson, brimming with theatrical interest. The two final operas will follow in November/December with two complete cycles offered in April.

Volksoper: Das weifle Licht des Todes

Guaranteed to raise the roof,,14932-1845565,00.html

Why the fat ladies sing,,14932-1845621,00.html

Toby Spence/Julian Milford at Wigmore Hall, London,11712,1602674,00.html

Brisk and bracing march through some preposterous plotting

ROSSINI: La Cenerentola

Naxos is perhaps the only significant major label regularly releasing complete opera sets. A few have won widespread praise, and certainly the prices, at super-budget level, make them attractive to both first-time buyers and those whose collections scarcely justify an additional set.

ALBRIGHT: Berlioz’s Semi-Operas

This book examines two of the more interesting musical pieces of the Romantic movement: Romeo et Juliette (1839) and La damnation de Faust (1846). Both were composed by Hector Berlioz (1803-69), and were very much constructed in a Gesamtkunstwerk mode where literature, music, and the other arts are fused together in a hybrid style that defies genre and categorization.

ìLa Muette de Porticiî : a small revolt in Ghent

No opera history is complete without mentioning that Auberís La Muette de Portici caused Belgiumís revolution against Holland in 1830. As a historian I know there are three falsehoods in that one small sentence.