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Table Of Contents: June 2002
Vol. 66, No. 12
U.S. Opera Festivals
From Jenufa and Ellen Orford to Luisa Miller and Violetta, Patricia Racette's performances are remarkable for their intelligence, passion and honesty. She welcomes ERIC MYERS to her Santa Fe home for some candid conversation.
This month, a new production of
brings director Jonathan Miller back to Santa Fe Opera. But as far as the Metropolitan Opera is concerned, the doctor seems to be out. MARTIN BERNHEIMER reports.
Seasons of Santa Fe
Richard Gaddes is leading Santa Fe Opera in a new direction. By ALAN RICH
The Road to Ravinia
ANNE MIDGETTE heads to the Midwest for a dose of the old-fashioned, unpretentious charm of Chicago's Ravinia Festival.
The Aspen Idea
The Aspen Festival has grown from a small celebration of the humanities into an international arts colossus. As BROOKS PETERS discovers, not everybody in Aspen thinks this is good news.
REBECCA PALLER brings the curtain up on
Loss of Eden
, a new opera about Charles A. Lindbergh, due at Opera Theatre of Saint Louis this month.
On the Road: Carol Vaness in Paris
place an opera singer hangs her hat is home. In the first installment of a new series about favorite destinations, Carol Vaness revisits the City of Light with WILLIAM V. MADISON.
by RUDOLPH S. RAUCH
by F. PAUL DRISCOLL
Singer's Diary: New Directors
by JUDITH MALAFRONTE
Sound Bites: Lawrence Brownlee
by FRED COHN
A guide to the best summer music festivals in the U.S., compiled by BETSY MINGO.
DONALD ROSENBERG visits Ohio Light Opera.
Lyric Opera of Chicago Broadcasts
Hänsel und Gretel
Harvey Sachs translates letters of Toscanini
Eileen Farrell dies at 82; tenor Gösta Winbergh
Met telecast of
Coda: Early Edition
by JUDITH MALAFRONTE
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Everything you've always wanted to know about Bellini’s beloved tragedy
but were afraid to ask.
With some mild tweaking for narrative coherence and flow, the enjoyable
Charlie Parker's Yardbird
, given its world premiere by Opera Philadelphia, should travel as long as tenor Lawrence Brownlee wants to sing it.
Katie Mitchell's new production of
at the Aix-en-Provence festival ignored the conventions of
, preferring to tell the story with colorful theatricality managed with exemplary technical skill.
August 2015 — VOL. 80, NO. 2
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