There are many different ways to analyze the health of New York City. My personal measurements judge the town thus: How many aspiring artsy kids are forced to share a single apartment in an outer borough while they “find themselves” and how many small but immensely able opera companies are functional at any given time.
“I can guess what you are hiding.
Bloodstain on your warrior’s weapons.
Blood upon your crown of glory.
Red the soil around your flowers.
Red the shade your cloud was throwing.
Now I know it all, oh, Bluebeard.”
The Los Angeles opera company ended its 2011-2012 season with Giacomo
Puccini’s long-loved La BohËme, in a long-lived production. What is
it about this opera that keeps old loves alive?
Detlev Glanert’s Caligula at the ENO shows how powerful modern opera can be. Caligula was a tyrant, but this opera isn’t sensationalist.
Kudos to the Los Angeles Philharmonic Association and Gustavo Dudamel for their courageous plan to present semi staged performances of the Mozart/Da Ponte trilogy of Italian operas with the assistance of outstanding set and costume designers and directors.
In David McVicar’s staging of Strauss’s disturbing opera, first seen at
Covent Garden in 2008 and now enjoying its second revival, Salome’s descent
down the Stygian staircase is a literal drop into a subterranean slaughterhouse
and an ethical fall into the delights and depravity of her of burgeoning yet deadly sexuality.
Donizetti’s Maria Padilla received a concert performance with the Chelsea Opera Group.
A fascinating evening of arias and readings on the theme of Handel’s “rival queens”, Francesca Cuzzoni and Faustina Bordoni.
Canadian Opera Company’s diverse May offerings included some superlatively sung Handel, a galvanizing star turn from a rising tenor talent, and a well-matched veristic double bill of tragedy and comedy.