It’s three down and one to go in the first-ever staging of Richard
Wagner’s Ring des Nibelungen at Los Angeles Opera. Following the
premiere of Siegfried, the third installment of this epic work of
music theater, it’s clear that director/designer Achim Freyer is a
hands-down winner.
Category: Reviews
Los Angeles “Ring” continues to amaze
Johann Strauss: Das Spitzentuch der Kˆnigin
Dear non-German speaking Opera Today reader — what’s your first guess as to the meaning of the biggest word in the title of this obscure Johann Strauss operetta?
Siegfried Wagner: Der Schmeid von Marienburg
Will the 22nd century still see the opera-loving world as fascinated by the ongoing saga of the Wagner family as the 20th did and the 21st does?
Tosca at the MET
In the end the performance does not rescue the dreary new production — still, the reason to visit the Met’s new Tosca is Karita Mattila’s bravura if wrongheaded interpretation of the title role.
Il trovatore in San Francisco
SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.
John Gay: The Beggar’s Opera
The only thing truly operatic in this work is the use of the word “opera” in the title.
Zandonai: Francesca Da Rimini
Besotted admirers of certain lesser-known operas of debatable merit sometimes include conductors, singers and opera house managers with the power to get their cherished rarity on stage.
Tristan und Isolde more rooted in tradition than meets the eye
Over 100 years ago, Adolphe Appia sketched designs for Tristan und Isolde that have influenced theatre design from Alfred Roller to Wieland Wagner. Appia’s vision came to life on stage at the Royal Opera House this week. This new production has far deeper roots in tradition than its detractors realize.
San Francisco Opera: Puccini’s Il Trittico and Verdi’s Il Trovatore
The complexity of staging Puccini’s evening of three one-act operas, Il Trittico, has kept this masterpiece from appearing on opera stages as frequently as, say, Turandot or Tosca.
Imogen Cooper’s Birthday at the Wigmore Hall
This wasn’t an ordinary concert but something very special. The Wigmore Hall was honouring Imogen Cooper on her 60th birthday. She is greatly loved here, both as soloist and as partner in song recitals. The atmosphere was electric. The house was packed, with many famous pianists and singers in the audience. It was a historic occasion, but it felt like a party among friends.