Paris: As Good As It Gets

I cursed myself for not having turned on the television sooner.

Return of Ulysses in San Francisco

William Kentridge is a South African artist who works in charcoal and eraser (smudges) on paper, in small animated film and video segments (black and white), in theater, and now in opera. Monteverdi’s The Return of Ulysses was his first operatic project that took place in 1998 in collaboration with South Africa’s Handspring Puppet Theater.

Rigoletto at San Diego Opera

In the current weak economy many an opera company has retrenched its programming to present primarily the most popular operas.

Handel & Purcell on Special Offer at Covent Garden

If combining the anniversaries of both Purcell and Handel in one production at the Royal Opera was something of a master-stroke, then getting the Royal Ballet in on the act must have seemed to be verging on the brilliant from a commercial point of view.

Bloch’s Macbeth by UC Opera, London

Mention Macbeth — The Opera and most think of Verdi. Ernest Bloch took on the subject more than half a century later, in Paris in 1910, when Verdi’s version was almost as obscure as Bloch’s is today.

Magdalena Kožen· shines in Martinů’s Juliette at the Barbican, London

Many works by Martinů will be performed in this year’s commemoration of the anniversary of his death, but it would be hard to equal the impact of this performance. Much of its success was due to Kožen·, whose presence illuminated the whole opera, even though her moments on stage were fleeting.

In Sarasota the composer is king

In the world of opera it’s now the director who is the top banana.

Jenůfa — English National Opera, London Coliseum

Jan·?ek enthusiasts in London have been spoiled this month: opening the day before English Touring Opera’s Katya Kabanova, David Alden’s staging of Jenůfa made a welcome return to the Coliseum following its original double Olivier Award-winning run in 2006.

Venice’s Variable “War Requiem”

I had been looking forward to it for weeks — really, for years.

La Sonnambula at the MET

In 1831, when Vincenzo Bellini composed this pastorale full of characters who never express any but sincere emotions (with the exception of Lisa, the calculating flirt), he certainly intended them, and their feelings, and therefore their story, to be taken seriously – or he would not have given them such seriously lovely music.