Category: Performances

A remarkably quick turnaround from only last May when the first run of Handelís ìRadamistoî was blessed with a consistently high level of vocal performance may have been the reason for sparser houses this time round at the Hamburg Staatsoper (October 6th).

Of Donizettiís fifty or so ìseriousî operas, Lucia di Lammermoor was the only one to survive his heyday almost unscathed by change of fashion; today, when a dozen of his other worthy works have been restored to the repertory, Lucia easily hangs on.

There is a certain onerous responsibility in developing a new production of Carmen at a major house.

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.