Saturday, March 26, 2011
Upon assuming the post at New York City Opera two years ago, general manager and artistic director George Steel made it his mission to nudge the troubled company forward. How profoundly that mission resonated Friday night, writes Olivia Giovetti.
Friday, March 25, 2011
Last night, I had the extreme pleasure of seeing Gioachino Rossini’s opera Le Comte Ory. Hard to believe that it premiered in 1828, and this is the first time it’s being done at the Met. Granted, there’s almost no plot, and what there is seems hopelessly politically incorrect. But then so are lots of opera plots, so how much does it matter when there's such delightful music involved?
Friday, March 25, 2011
Theatricality abounds in Rossini’s operas. The composer trades in devices such as mistaken identity and hyperbole nearly as often as he does with coloratura riffs and grand ensemble numbers. So when Peter Gelb assumed directorship of the Metropolitan Opera in 2006, he couldn’t have made a better choice with pegging Broadway director Bartlett Sher to helm a new production of Rossini’s most famous work, Il Barbiere di Siviglia. Sher, a relative neophyte to the genre, made magic out of the classic score and story. The production has since served as a vindication for some of the company’s recent artistic missteps.
Wednesday, March 23, 2011
While the Met has a well-earned reputation for presenting some of the brightest stars in the operatic firmament, it has also recently garnered some harsh criticism for the number of promised artists backing out. Clearly something’s gotta give, but what that something is remains a gray area.
Monday, March 21, 2011
When I was asked to contribute to a blog about opera for WQXR.org I accepted without hesitation. Many people who know me say that I live on a metaphorical Planet Opera, which I take as a compliment even though opera is only part -- a wonderful part -- of the fabric of my life. I know that anyone who embraces opera, which is to say loves opera rather than merely “appreciates” it, lives more richly and is usually more in touch with the human experience. This is because opera addresses, on many levels, the core issues and questions of who we are.
Monday, March 21, 2011
It’s hard not to imagine Jonathan Miller as a living incarnation of L’Elisir d’Amore’s Doctor Dulcamara. Like Donizetti’s itinerant shyster, Miller breezes into an opera house with a flourish, bringing with him his knighthood, medicinal background and reputation for being—in Dulcamara’s own words—a Dr. Encyclopedia. And for some audiences, Miller’s operas (the most famous of which perhaps being the Mafioso Rigoletto set in 1950s Little Italy) are on par with the questionable wares peddled by Dulcamara.
Thursday, March 03, 2011
When I heard that James Levine was resigning as music director of the Boston Symphony, I felt what many people probably did: relief that he might now be able to recuperate fully from the hard few years he’s had, medically.
Wednesday, February 23, 2011
It is impossible to believe that Frederica von Stade has truly left the opera stage after a 40-year career. Can it be possible that I first saw my then-new friend, Flicka in 1971 at the Metropolitan Opera? She was playing Violetta’s friend, Flora Bervoix in La Traviata. I saw her again a few days ago at the Houston Grand Opera, where she sang the role of the heartbroken mother of a condemned man in Jake Heggie and Terrence McNally’s searing and achingly painful opera, Dead Man Walking.
Monday, February 14, 2011
Last year, in celebration of Valentine's Day, we asked prominent musicians how classical music added romance to their lives.
Friday, February 11, 2011
Hey, musical theater fans! I know, I know -- WQXR is a classical music station. But this morning I had the sound of Broadway on my mind, and I came into the office singing a song from a classic piece of American musical theater: Brigadoon, the 1947 Lerner and Lowe show about the enchanted Scottish village that appears every hundred years for only one day.
Wednesday, February 09, 2011
Brad Mehldau, that is. The music of the jazz pianist/Carnegie Hall-commissioned composer entered my ipod world through his interpretation of Radiohead’s Exit Music. I was immediately struck by how lyrical and intricate his sound was and have been a fan ever since. When I heard Mehldau was presenting a solo piano recital on January 26 at Zankel hall of his own works, interspersed with repertoire by Bach, Brahms, Faure and pop and jazz transcriptions, I wondered, what was he going to do with “those” guys?