“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .
Author: Gary Hoffman
“Culture: the cement that binds Europe together”
http://europa.eu/rapid/press-release_SPEECH-13-280_en.htm?locale=en
Die Walk¸re, Paris
The Paris OpÈra has not staged a full Ring Cycle since 1957, but its current season will conclude with a correction of this grand operatic gap.
Manon Lescaut, Washington National Opera
Washington National’s 2012-2013 season continues this spring with a production of Giacomo Puccini’s first successful opera.
The Gospel According to the Other Mary, Los Angeles
Composer John Adams’ smashing, crashing and poignant The Gospel
According to the Other Mary, created in collaboration with Peter Sellars,
made its second appearance at Disney Hall with the Los Angeles Philharmonic
Orchestra.
Flying Dutchman at LA Opera
The Los Angeles Opera company opened its spring season in celebration of
Richard Wagner’s bicentennial with the composer’s The Flying Dutchman,
written in 1843.
Francesca da Rimini at the Met
Sets and costumes are gorgeous and the singing is good, but the libretto’s slow and continuously interrupted dramatic action grows tiresome
Gˆtterd‰mmerung at the Staatsoper Berlin
In the final of scene of Gˆtterd‰mmerung in a new production at
the Staatsoper Berlin, Br¸nnhilde appears in a flowing pink gown just as the
music has modulated and penetrates the hall of the Gibichungs, represented by
rows of glowing translucent boxes that preserve the dismembered limbs of their
victims.
Robert Carsen’s Falstaff, Paris
With Robert Carsen’s production of Falstaff almost inescapably
making the rounds of the world’s operatic stages, it is well worth it to take
in another production altogether.
Cenerentola at Paris OpÈra
Rossini’s “other” comic masterpiece of 1817 came into the world only a few weeks after the much better known The Barber of Seville. But it has had a place in the repertoire since its premiere.