opera | The European Conservative

A Batty Lohengrin Flaps New York

Paul du Quenoy April 10, 2023

Lohengrin, with its lush music and tragic exploration of trust, betrayal, and forbidden knowledge, has imaginative gifts to offer contemporary audiences. The music still soars, but only to the cave ceiling, not to the skies.

Daphne Blooms in New York

Paul du Quenoy April 5, 2023

Strauss’s opera prizes innocence in a time of chaos, beauty over disorder, and the transcendence of suffering. Daphne is precisely the work that could lend itself to the revitalization of an opera company.

Ritorna Vincitor! Anna Netrebko’s Arbitration Victory Shows that New York’s Metropolitan Opera is Getting Woker and Going Broker

Paul du Quenoy April 2, 2023

In Europe, revitalized theaters are announcing new seasons that New Yorkers can now only dream about. As New York looks ever more provincial, Paris, Berlin, and Milan are only some of those offering Anna Netrebko in star roles.

Let the Music Resound at Palm Beach Opera!

Paul du Quenoy March 26, 2023

A step up from the very literal productions usually seen here, this co-production by Opéra de Monte-Carlo and San Francisco Opera removes the action from its usual eighteenth-century setting to the fateful year of 1914.

Love, Betrayal, and Cultural Sensitivity in Palm Beach

Paul du Quenoy March 7, 2023

This is the Madama Butterfly we know and love—almost to the point of guilty pleasure.

Paris Opéra’sTristan Sounds Good but Has Seen Better Days

Paul du Quenoy January 20, 2023

The score of Tristan, an opera that commands what Dudamel claims to be his obsession, radiated brilliantly with a fine Gallic touch from the Opéra’s orchestra.

Progressivism at the Opera: Enough is Enough

Hélène de Lauzun January 12, 2023

Alagna, Kurzak, Tézier, Kaufmann: Does the healthy reaction of these artists herald a new era, when opera will cease to be a place of propaganda, political activism, and wokeism?

A Lady Macbeth To Die For Conquers New York

Paul du Quenoy November 22, 2022

Conductor Keri-Lynn Wilson’s deft, efficient gestures captured the performance with balance between its driving sonic eccentricities and subtler and more contemplative passages.

Strauss’s Shadow Over Munich: Die Frau ohne Schatten Overwhelms at Munich’s Opera Festival

Paul du Quenoy September 6, 2022

Warlikowski’s productions tend toward the visceral. His exploration of the opera’s mythological content led him to profound meditations on the fluidity of space and time, of the real and the unreal.

Richard Strauss in His Hometown:
Die Schweigsame Frau and
Der Rosenkavalier in Munich

Paul du Quenoy August 23, 2022

If the visuals left us baffled and disappointed, the musical performance reached toward the stars. The superb soprano Marlis Petersen delivered a sensitive, nuanced Marschallin that captured the character’s emotional dilemmas with a pathos unseen since Renée Fleming gave up the role five years ago.

Tag: opera

A Batty Lohengrin Flaps New York

Daphne Blooms in New York

Ritorna Vincitor! Anna Netrebko’s Arbitration Victory Shows that New York’s Metropolitan Opera is Getting Woker and Going Broker

Let the Music Resound at Palm Beach Opera!

Love, Betrayal, and Cultural Sensitivity in Palm Beach

Paris Opéra’sTristan Sounds Good but Has Seen Better Days

Progressivism at the Opera: Enough is Enough

A Lady Macbeth To Die For Conquers New York

Strauss’s Shadow Over Munich: Die Frau ohne Schatten Overwhelms at Munich’s Opera Festival

Richard Strauss in His Hometown:
Die Schweigsame Frau and
Der Rosenkavalier in Munich

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