Category Archives: Opera

LA CENERENTOLA at 100: OPÉRA NATIONAL DE PARIS PRODUCES A LANDMARK

Napoleon is dead, but a new conqueror has already shown himself to the world; and from Moscow to Naples, from London to Vienna, from Paris to Calcutta, his name is constantly on every tongue. The fame of this hero knows no bounds save those of civilization itself; and he is not yet 32! The 1823 […]

Gran Teatre del Liceu: A Stark Rigoletto

The Rigoletto at Barcelona’s elegant Gran Teatre del Liceu reminded me again that Verdi can be considered the Shakespeare of opera. Not only did he compose a Macbeth, Othello, and Falstaff, but his great fondness for King Lear was spread among several operas. The king driven mad by his evil daughter centers Nabucco, while Rigoletto […]

Tidewater Opera Initiative: Fearless Performance

If you need proof as to the truth of Henri Matisse’s observation, “Creativity takes courage,” you need go no further than the weekend performances at Norfolk’s funky Hugh R Copeland Center of Mozart’s Der Schauspieldirektor and Henry Purcell’s  Dido and Aeneas. The Tidewater Opera Initiative (TOI), a self-described “boutique opera company”, presented the pair of […]

EUGENE ONEGIN at the Met: Netrebko Redefines Tatiana

Some fans of Alexander Pushkin’s great and iconic verse novel Eugene Onegin can’t stomach Pytor Illyich Tchaikovsky’s operatic version. Too much of the master Russian author’s brilliance is lost, they say, in the opera’s simplified libretto, written in only nine days. Pushkin’s 1833 novel is a text that “divides Russian literature into a ‘before’ and […]

Lyric Opera’s Eugene Onegin: Tatiana’s Triumph

Like Shakespeare’s Julius Caesar, Pytor Tchaikovsky’s Eugene Onegin is not eponymous. The play is named, not, as Dostoyevsky famously argued, for the play’s main character, but rather for the character who sets the main character in action. The main character in Tchaikovsky’s opera is, instead, the country girl, Tatiana Larina. And Tatiana might owe her […]

Lyric Opera’s CARMEN: Ashford and Calleja Make History

“Bullfighting is the only art form that both represents something and is that thing at the same time: the matador’s elegant immobility in the face of the bull not only represents man’s defiance of death, it is a man defying death, and there are women who do it too.”[i] In Rob Ashcroft’s magnificent new telling of Bizet’s Carmen, the […]

Artistic Home’s BY THE BOG OF CATS . . . : Harrowing Irish Drama

Move over Lucia, Dido, and Norma! There’s a new operatic heroine in town. Marina Carr’s Hester Swane may not be a Scottish lady, or a Carthaginian princess, or a Druid priestess, but this down-and-out Irish tinker suffers more passionate abandonment by loved ones in her brief stage lifetime than all three opera divas suffer together […]

Lyric Opera: Chicago’s Third Great NORMA

As late as 1920, American musicologists considered Vincenzo Bellini’s Norma “an improbably old-fashioned, almost hurdy-gurdy work.” But thanks to Chicago sopranos, that opera has become a standard of the American operatic canon. Written when Bellini (1801-1835) was just thirty years old, Norma had played in Chicago since the mid-nineteenth century by various visiting opera companies. […]

My 10 Favorites of 2016, In No Particular Order

KING CHARLES III – Chicago Shakespeare THE AMISH PROJECT – Interrobang WONDERFUL TOWN – Goodman THE MERCHANT OF VENICE – Shakespeare’s Globe at Chicago Shakespeare THE SEAGULL – The Artistic Home COMPANY – Writers’ Theatre A LOSS OF ROSES – Raven Theatre PYGMALION – Remy Bumppo THE TROJANS – Lyric Opera THE MAGIC FLUTE – […]

LYRIC OPERA’S MAGIC FLUTE: A Metatheatrical Spectacular

Reviewing an 1879 production of Mozart’s The Magic Flute, the anonymous Chicago Tribune critic noted, “it would be absurd to try to explain the plot…. All sorts of explanations have been attempted but, if anyone ever really knew what it meant, he died before he said anything about it. It is a hodge-podge, nonsense, and […]