Category: Performances

With Gˆtterd‰mmerung, a co-production with the Kˆln Opera House created by Robert Carsen (stage direction), Patrick Kinmonth (sets and costumes) and
Jeffrey Tate (conductor), La Fenice approaches completion of the
Ring cycle.

Four years have passed since the most celebrated American soprano of recent times, RenÈe Fleming, graced the stage at Covent Garden, in Elijah Moshinsky’s classic production of Otello.

Le Grand Macabre is the only opera of Gyˆrgy LigÈti, one of the
major composers of the 20th century.

Much ink has been spilled over the failed Marta Domingo production of La
Traviata that San Francisco Opera inexplicably imported for its blatantly
audience baiting summer season (Traviata, Tosca, Porgy and Bess).

Amato Opera went to the netherworld of expired extravaganzas this spring, a
one-man operation whose one man was weary. As New York’s oldest
down-the-block and semi-pro company, it’s loss was regrettable —
though it’s many years since Amato gave up doing interesting repertory.

It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States.

A performance of sublime authority from Goerne and Eschenbach

Following the death of the American film director Anthony Minghella, ENO were left with a gap in the season vacated by the new production which he had been engaged to direct, and what better way to do so than by bringing back his immensely popular 2005 staging of Madam Butterfly? Minghella’s widow, Carolyn Choa (who has worked on the production from its original conception) was charged with resurrecting the production in tribute.

Last week (May 27), “without further a-don’t,” as she adorably puts it, Madame Vera Galupe-Borszkh, the world’s reigning traumatic soprano
— lately, she says, more of a soprano “spento” — bade a
last, lingering, loving farewell to her adoring public in a sold-out concert at
the Leonard Nimoy Thalia Theater on Manhattan’s Upper West Side.

The Collegiate Chorale (ably supported by the orchestra of the New York City
Opera under George Manahan) chose Gluck’s Alceste, last heard in
New York at the City Opera in 1982, for its annual spring concert opera —
an excellent choice for a chorus eager to show its stuff.