About a week ago (maybe longer? I’m only just recovering my sense of time after the madness of July/August), a commenter by the name of Antonio pointed me towards Re:Classical’s “5 Reasons Why Traditional Opera Kind of Sucks” post. The “About” section of my blog is getting rather ungainly, so I’m trying to start shifting discussions from the About section into blog posts.
This past Monday, the DC Wagner Society hosted a lecture by Asher Fisch at the Goethe Institute about conducting Wagner. This was the first Wagner Society event I’d attended since becoming a member (the membership rate for persons under 28 is ridiculously cheap, by the way!) and the first time I’d been in close contact with the society members.
In addition to the Wagner Society members and board members (and anyone else who managed to book a free ticket in time), it was attended by Washington Post opera critic Anne Midgette and Stefanie Irànyi, a German mezzo-soprano with whom Fisch will be performing a concert of Mahler songs at the University of Maryland tonight (Asher Fisch will be playing piano). Continue reading →
The Royal Opera live-tweeted an interview with David McVicar as part of their “Opera Insights” series. McVicar’s Salome (inspired by the 1975 Pasolini film Salò, or the 120 Days of Sodom – not a film for the faint of heart of weak of stomach) has been in rep at the Royal Opera since it premiered in 2008, and his new Les Troyens opens toward the end of June.
Based on the ROH’s tweets, the interview covered a lot of ground, from rehearsal methods to to surtitles to comic acting in opera. Unfortunately, the ROH has no plans to make a complete version of the interview available, but they have assured us that clips will be forthcoming. The parts of the interview that were relayed across the twitterverse (you heard me!) were rather provocative. I spent much of the afternoon pondering his first answer: