Category: Performances

Across the country from Los Angeles, the Metropolitan Opera has opened its 2007-08 season with big stars (Netrebko, Alagna, Dessay, Giordani) in juicy, melodic operas by Donizetti and Gounod.

Masterpiece? The term rather depends on whether the artist in question was indeed a master and it might come as a surprise to learn that this little-known composer of the brief, but significant, German Baroque Opera period is regarded by many as just that.

The New York City Operaís production of Richard Danielpourís and Toni Morrisonís opera, Margaret Garner, boldly faces the ugly history of slavery in the United States, and the racism inherent in the institution of opera.

If the swift downpour that hit Pesaro, moments before the Prima of G. Rossini’s Otello on August 8th, seemed like a bad omen, that was nothing compared to the two major cast changes that could have weakened the foundation of the Rossini Opera Festival’s new production of the opera and washed it away.

For those who can’t (or won’t) see the forest of an opera for the trees of performance minutiae, here’s the word about the San Francisco Opera’s new production of Wagner’s “Tannhauser” that opened tonight:

Name this stage piece if you can:

Los Angeles Opera opened its 2007 season with Fidelio on September 8th, and on the following day held a gala performance of Verdi’s Requiem.

A husky baritone in Speedos on a motor scooter and a buxom, purple-wigged Dame Edna drag clone ó the Aspen Opera Theater Companyís staging of Francesco Cavalliís 1667 ìEliogabaloî was off to a start that promised to equal the programís over-the-top staging of the composerís 1649 ìGiasoneî two summers ago. (AOTC director Edward Berkeley raised the curtain on that Baroque potboiler to a biker Amor on a Harley.)

The unmistakable fanfare that opens Monteverdiís seminal LíOrfeo rang out from the top of the crowded foyer of the Netherlands Opera in Amsterdam last Friday night to signal not only the start of the opera, but also the opening night of their celebratory 2007 Monteverdi Cycle.

Written in 1900, Elgarís Gerontius expresses the universal and existentialist struggle of death and rebirth. The allegorical significance of the piece touches on a need for faith, self-discovery, and acceptance of the world around us.