Here is the exception. The revival of an old opera production need not always be perceived as an expedient (read cheap) solution to getting a season of opera put together, but may pass instead as an artistically thoughtful choice.
Mozart cut his operatic teeth on La finta semplice, as a twelve-year-old prodigy being paraded before the Viennese court by his ambitious father, Leopold.
Scarcely had Julius Drake seated himself, when the piano’s turbulent stream of relentless semiquavers precipitously announced the opening of Schubert’s ‘Der Strom’ (The river), the opening song in Ian Bostridge’s recital series, Schubert Lieder.
Although this is their fifth outing, Tanya McCallin’s sets for David McVicar’s Le Nozze di Figaro remain a sumptuous feast for the eyes.
Thomas Hampson “lives” Mahler. He’s the greatest Mahler singer of our time, and a serious Mahler scholar as well.
The Royal Opera House has its own DVD arm, Opus Arte, and is developing quite a global
following with its cinema broadcasts.
The Royal Opera’s production of Puccini’s Turandot is nearly 30 years old. Created for the 1984 Olympics, Andrei Serban’s production has been
revived 15 times.
The Wigmore Hall 2013/14 season started in exuberant style. Simon Keenlyside, Bryn Terfel and Malcolm Martineau devised a programme that was festive and fun. And, this being the Wigmore Hall, the recital was as erudite as it was popular
Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.†
Stefan Herheim’s Die Meistersinger von N¸rnberg in Salzburg will transfer to the Met. Will audiences collapse in hysteria?