Paul du Quenoy | The European Conservative

Sounding the Death Knell of Civilization: New York’s Metropolitan Opera Charts a Foolish New Course

Paul du Quenoy January 2, 2023

One might imagine that the Met may have learned a powerful lesson from its present plight and uncertain future, but unfortunately not.

Where’s the Rage? Cherubini’s Medea Strikes Out on the Metropolitan Opera’s Opening Night

Paul du Quenoy December 29, 2022

An apt but uncharitable description of Medea’s incongruities might paraphrase Woody Allen’s description of a monster as a being with the body of a crab and the head of a social worker to say that Cherubini’s work sounds like a Mozart opera with a Beethoven overture.

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.

Soup Nazis: Climate Activist Tools Take on Vincent van Gogh

Paul du Quenoy October 21, 2022

There is no indication that anyone’s opinion of climate change is different now from what it was before the souping.

Renaissance Man: Raphael at the National Gallery, London

Paul du Quenoy September 27, 2022

London’s National Gallery ventured to assemble what it described as the first exhibition outside Italy “to encompass all aspects of Raphael’s artistic activity across his career.”

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.

A Thorough Modern Devil Tempts Paris:
A Review of Gounod’s Faust at the Paris Opera

Paul du Quenoy August 3, 2022

Tobias Kratzer successfully framed the tale’s tension between the temptation of lustful vice and the promise of salvation as a modern ‘crise de conscience.’

For Evermore: A Visit to the Battlefields at Ypres and the In Flanders Fields Museum

Paul du Quenoy July 25, 2022

Visiting Ypres today is a somber affair. The surrounding farmlands were the main battlefield, but the town itself was almost totally destroyed by German bombardment in the autumn of 1914. The devastation was so great that Winston Churchill wanted to depopulate the town and transform its environs into a vast memorial site.

Carmen Marks Washington National Opera’s Gala Return to Fully Staged Performances

Paul du Quenoy June 20, 2022

Isabel Leonard’s portrayal of Carmen was commendably human in a world that often also demands some kind of ideology to peer out from the character.

Tag: Paul du Quenoy

Sounding the Death Knell of Civilization: New York’s Metropolitan Opera Charts a Foolish New Course

Where’s the Rage? Cherubini’s Medea Strikes Out on the Metropolitan Opera’s Opening Night

A Lady Macbeth To Die For Conquers New York

Soup Nazis: Climate Activist Tools Take on Vincent van Gogh

Renaissance Man: Raphael at the National Gallery, London

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

A Thorough Modern Devil Tempts Paris:
A Review of Gounod’s Faust at the Paris Opera

For Evermore: A Visit to the Battlefields at Ypres and the In Flanders Fields Museum

Carmen Marks Washington National Opera’s Gala Return to Fully Staged Performances

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Winter 2024, Issue 33

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