The Barbican’s Great Performers season often acts as a receiving house for continental opera productions, thus giving us in London a chance to hear interesting performances without actually having to travel.
Transplanting Britten’s Shakespeare opera to an Indian setting seems at first an illogical step by Hollywood director Baz Luhrmann.
With its tricky ‘orientalist’ connotations, Singspiel-originating spoken dialogue, not to mention the problem of finding five outstanding singers who can cope with the considerable demands of the solo roles (and the commercial challenge presented by the need to pay a chorus who sing barely a few bars of music), Mozart’s Die Entf¸hrung aus den Serail does not receive as many stagings as it deserves.
In a seamless realization with an ideal cast Lyric Opera of Chicago celebrates the magical antics and foibles of both human and fairy in its premiere production of Benjamin Britten’s Midsummer Night’s Dream.
It may be as well to put matters in context by saying that Don Carlo is a
favorite opera of mine (and of all Verdi lovers), and that I found the Met’s new staging highly satisfactory, vocally very good if less than top flight, orchestrally thrilling—and that I hope to catch it again this
season. (Interesting rumors have been heard about the alternate tenor.)