Alle Jahre wieder – Das Weihnachtsoratorium in der Thomaskirche, mit den Thomaner, dem Gewandhausorchester und Gästen Weihnachtsoratorien sind auch eine Jahrgangsfrage: Frei von der Diskussion um die Herrlichkeit Bachscher Noten,…
Category: Reviews
Don Carlo a Firenze
Firenze, teatro Comunale. Si rappresenta il Don Carlo nell’edizione in cinque atti, con la ricostruzione dello storico allestimento di Luchino Visconti. A metà del secondo atto il sipario si chiude…
Don Carlo at Teatro del Maggio Musicale Fiorentino
With all of the festivities surrounding the reopening of La Scala, the production of Don Carlo at Teatro del Maggio Musicale Fiorentino was left in the shadows. The company is…
Vita con un idiota at Russkij Festival, Rome
Altro che idiota! Vita con un idiota opera in due atti di Alfred Schinittke libretto di Viktor Erofeev Russkij Festival Auditorium Parco della Musica – Sala Petrassi Viale Pietro De…
A Month in the Country
We previously reported on the Manhattan School of Music production of Lee Hoiby’s A Month in the Country. Here is Anne Midgette’s review. A Russian Play, Reimagined by an American…
A Double Bill at Juilliard
Prodigal Son and a Brat, a Whimsical Pairing By BERNARD HOLLAND The Juilliard Opera Center’s double bill on Wednesday made more nonmusical than musical sense. “L’Enfant Prodigue” by Debussy and…
Salieri’s Europa Riconosciuta A Wise Choice
Salieri promu chantre de l’Europe [09 décembre 2004] Le Napolitain Riccardo Muti a fait le bon choix avec cette Europa Riconosciuta de Salieri pour rouvrir le théâtre dont il est…
Handel in Paris: A Review of Hercules
Paris Palais Garnier 12/04/2004 – et 6, 8, 11, 14, 16, 19, 22, 27 décembre 2004 Georg Friedrich Haendel : Hercules Joyce DiDonato (Dejanira), William Shimell (Hercules), Malena Ernman (Lichas),…
Der Rosenkavalier at Helsinki
A triumphant ‘Rosenkavalier’ By George Loomis International Herald Tribune Wednesday, December 8, 2004 HELSINKI Far be it from me to foment rivalry between sopranos, but Finland has another who is…
Rigoletto at Amsterdam (and an appraisal of tenor Joseph Calleja)
How does it come about that “modern” productions date so quickly while “traditional” ones can go on for ages ? Probably, because ideas that once were fresh and innovative are…