A recent addition to Valery Gergiev’s Mahler cycle with the London Symphony Orchestra, the SACD recording of the Third Symphony has much to recommend.
The dust on 65th Street is clearing up and the reviews for the renovated Lincoln Center for the Performing Arts are in — the piazza is being hailed as newly “inviting” by architects and arts critics alike, and rightly so.
They have been fiddling with Luc Bondy’s staging of Tosca. Scarpia doesn’t masturbate on the Madonna; he just sort of pinches her erotically.
Since he first came to notice a few years ago — in Messiah in this very hall, as Creonte at Covent Garden, and as Arsace in Partenope at New York City Opera, to name by a few recently acclaimed performances — many a starry accolade has been heaped upon young Welsh countertenor, Iestyn Davies: “achingly beautiful tone”,“unforgettable focus and poignancy” and “compelling sense of rhetoric” are typical of the bountiful superlatives.
This beautifully realized production of Verdi’s somber masterpiece of political intrigue and father/daughter reconciliation could be a complete success except for one missing element — memorable singing.
There is more than one way to skin a cat.