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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
Table of Contents
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Find past issues, features, reviews, recording and more.
Celebrating the 80th Anniversary of
with seminal articles and excerpts from our archives that have never before appeared on our website.
The inherent horrors of the tale notwithstanding, one could not take the Royal Opera’s kitschy new
seriously even for a moment. Perhaps one wasn’t meant to.
In turning the opera into a bleak parable of intolerance, Calixto Bieito’s dreary and uninteresting staging of Halévy’s
in Munich failed to make a silk purse out of a sow’s ear.
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