Washington National Opera is raising the bar with two operas using the bones of the same set–both cleverly and fantastically. The first, a Don Giovanni for the #metoo era; the second, an opulent Samson et Delilah. Read my reviews of both at Bachtrack here and here.
The Forum for Opera and Musical Performance has two exciting panels at next year’s Modern Language Association Annual Convention, which is in Toronto from 7-10 January 2021, and we’re looking for exciting papers to fill them. Send abstracts to Cynthia Chase or to me, or share it with an opera-lit scholar who might be interested! Deadline is March 20.
Opera After World War II: Production, Memory, and Mourning
Operatic Spectacle: Screening, Sound, and Vision
The second act was especially breathtaking, though it didn’t include the very well-behaved borzoi at Bathilde’s side in the first act. Read my review of American Ballet Theatre’s Giselle at Bachtrack.
Performing Antonín Dvořák’s Violin Concerto in A minor, Op. 53 with the National Symphony Orchestra, violinist Christian Tetzlaff delivered an expectedly fantastic performance. Read my review at Bachtrack.
There are few things worse than a boring concert–and with a Rach piano concerto on the docket to boot. Thank god for Copland’s third symphony closing out the National Symphony Orchestra’s program Saturday night. Read my review at Bachtrack.
I think it might be impossible for anything involving soprano Christine Goerke not to be some degree of fabulous. Read my review of the National Symphony Orchestra’s performance of Tristan und Isolde, Act 2, at Bachtrack.
I’ve been teaching the Egyptian Book of the Dead and have an entirely new appreciation for the opera’s references to Isis and Osiris. This production, with whimsical designs by Where the Wild Things Are author Maurice Sendak, focused more on childhood fancy, which isn’t always a bad thing. Read my review at Bachtrack.