Four operas, two critics: Anne Midgette and Philip Kennicott trade their views on the completed “Ring” cycle in DC.
“What it shows is a waning understanding of, and tolerance for, not differences of opinion – those rage happily on in every paper’s Comments sections – but the role of criticism and the arts in a society where they have less dominance. [The National Post features editor] will be vilified in the arts community for […]
“Great bad singers take our greatest fears and put them on the stage in front of us. Florence Foster Jenkins lives out all of our worst nightmares: getting up in public unprepared, being mocked without knowing it, realizing you have forgotten to get dressed before going out.”
Anne Midgette and Philip Kennicott trade views on the “Ring” at the Washington National Opera
Anne Midgette: “Indeed, with its giants and dwarves and dragons and battles and love duets, it bears marked resemblances to a lot of today’s most popular screen sagas: the political shenanigans of House of Cards, the epic flavor of Game of Thrones, the fairy-tale elements of Lord of the Rings. … (And by the way, […]
“It wasn’t just the illnesses, but the constant alternation between concealment and an excess of revelation that kept so much attention focused on them and away from the music.”
“Pierre-Laurent Aimard did it quietly. Evgeny Kissin did it in a casual remark to a presenter. Piotr Anderszewski, evidently, has done it in an interview with the website Humans of New York … What’s ‘it?’ Time off. Stepping off the treadmill.”
“Classical music, some say, is in decline. I say, over and over, that it isn’t. Classical music is just fine. It’s the institutions that perform it that are having trouble. … Of course, new work has an audience. It just may not be a traditional opera audience.”
Anne Midgette: “I write about music; I have a lot of music in my life. But when it comes to introducing my child to music, I have done a terrible job.”
Anne Midgette tracks the year’s highs and lows in classical music.
Berg's Lulu has returned to the Met, in a generally strong, haunting production by William Kentridge. There is early praise from Anthony Tommasini and Anne Midgette; my review will appear a week from Monday.
Anne Midgette moderates a conversation between five rising african-american opera singers – Alyson Cambridge, Soloman Howard, Kenneth Kellogg, Deborah Nansteel, and Russell Thomas – about the issues they face in their careers in 2015. (The makeup in Otello is not one of them.)
Alex Ross, classical music critic for The New Yorker, writes on his blog: Russell Thomas, speaking to Anne Midgette [here]: "The conversation about blackface is...
Russell Thomas, speaking to Anne Midgette: "The conversation about blackface is a distraction. It’s not about whether or not Mr. Antonenko was painted dark. It’s also not about whether whites should be allowed to sing Porgy and Bess. It’s about...
Anne Midgette on the downside of the Steinway monopoly: "Western piano technology has thrived on competition and innovation — witness the Classical period, when Mozart, Haydn, Beethoven and their contemporaries were constantly trying out different instruments, and manufacturers were constantly...
My review is posted. No links yet for Janos Gereben or Allan Ulrich's reviews. Joshua Kosman, Chron Anne Midgette, Washington Post Stephen Smoliar, Examiner.com Zachary Wolfe, NYTimes David Wright, Classical Review Michael Ferguson in...Show More Summary
Over on Facebook - I can't quite believe I am writing this - there's an interesting discussion of open or soon-to-be-open orchestral posts. The discussion started when Anne Midgette posted a link to her article about Christoph Eschenbach's...Show More Summary
Christoph Eschenbach, the music director of the National Symphony Orchestra, will become conductor laureate at the end of the 2016-17 season. A search committee has been formed to determine who his successor will be. Anne Midgette has a fine article about Eschenbach's tenure that pulls no punches. Show More Summary
Might as well! Michael Cooper breaks the story......and talks a bit about possible (types of) successors Anne Midgette writes thoughtfully about what worked and didn't with Gilbert and whether his changes will last. Her remarks on Gilbert in the core repertory certainly accord with what I heard during his guest appearances in SF. Justin Davidson Anastasia Tsioulcas George Grella
The impending opening of “Into the Woods” prompted music critic Anne Midgette and theater critic Nelson Pressley to compare notes on their very different takes on the last major movie of a Sondheim musical, Tim Burton’s “Sweeney Todd,” and on what makes a movie musical work.Read full article >>