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    Review: As New York’s Opera Scene Empties, Another Rises Upstate

    R.B. Schlather’s vibrant staging of Handel’s “Giulio Cesare,” playing in the Hudson Valley, is a bright spot in a bleak landscape for Baroque work.New York City Opera had recently shuttered when the director R.B. Schlather started to present Handel operas in a white-box gallery on the Lower East Side of Manhattan about 10 years ago. Those spare, surreal stagings of “Alcina” and “Orlando” felt like an elegy for City Opera’s innovative productions, and for its devotion to Handel — most famously, a landmark 1960s “Giulio Cesare” starring Beverly Sills.Now, as Schlather’s vibrant vision for “Giulio Cesare” plays at Hudson Hall in Hudson, N.Y., the landscape for opera — especially Baroque opera — is even bleaker in New York City, two hours south by train.The Metropolitan Opera, whose 4,000-seat theater isn’t a natural fit for early music, does less than it used to, and it’s become more or less the only game in town. City Opera was revived in name, but as a wan shadow of its former self. The Brooklyn Academy of Music used to be a destination for revelatory Baroque stagings by the likes of Les Arts Florissants; no more. Lincoln Center, ditto. Carnegie Hall presents Harry Bicket’s English Concert in a single Handel performance a year — on May 4 it’s, yes, “Cesare” — but unstaged, in concert.Upstate, Schlather has been unfurling a series of Handel productions with the terrific period-instrument ensemble Ruckus; “Cesare,” running through May 2, comes on the heels of “Rodelinda” at Hudson Hall in 2023. It is a precious bastion of an ever rarer breed.His directorial style in dealing with this composer’s works has gotten clearer with experience. “Alcina” and “Orlando” were always quirky, often thrilling and sometimes bewildering. But this substantially yet intelligently trimmed “Cesare” — with intermission, it’s just under three hours — is a stylishly straightforward account of a story of vengeance and lust set amid Julius Caesar’s campaign to conquer both Egypt and Cleopatra. Hudson Hall has a proscenium, but Schlather’s set pushes the action downstage in front of it with two angled walls painted iridescent black. Under Masha Tsimring’s stark, shadow-throwing lighting, those walls twinkle like a starry sky.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Mozart’s ‘Figaro’ and ‘Magic Flute’ at the Metropolitan Opera

    Joana Mallwitz is in calm, stylish command making her debut with Mozart’s “The Marriage of Figaro,” running in repertory with “The Magic Flute.”The size of the Metropolitan Opera can daunt even experienced artists. From the podium to the stage feels like a mile, and the proscenium is of yawning width and height. No opera benefits from chaos, but some pieces need especially precise discipline to make their impact — so they need conductors who can corral big forces across those sprawling distances.It’s impressive when a veteran baton makes it all work. More so when it’s a newcomer like Joana Mallwitz, who made her Met debut this month leading Mozart’s “The Marriage of Figaro,” the kind of farcical comedy that quickly goes off the rails without a firm hand on the reins.On Friday, midway through this season’s long run — lasting, with cast changes, through May 17 — Mallwitz was in calm, stylish command from the brisk overture on. Throughout the evening, she kept the orchestra sounding light and silky, allowing it to blend (instead of compete) with the charming singers.The yearning winds that play during Cherubino’s aria “Non so più” are the echo of the character’s teenage longing, and Mallwitz guided those winds to soar more than usual, bringing out true sweetness and a hint of ache. Cherubino’s second big number, “Voi che sapete,” was accompanied with elegant clarity, each plucked pizzicato note in the strings present and unified without being overemphasized.There was spirit and forward motion in this “Figaro.” But Mallwitz didn’t fall into the classic young conductor trap of shoving the performance toward extremes of tempo and dynamics (loud and fast, mostly) to convey intensity. In the long, zany, ebbing-and-flowing finale of the second act, she patiently paced the action, releasing tension then building it again, for an overall effect far zestier than if she’d merely kept her foot on the gas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    In Hudson, N.Y., Even the Opera Is Locavore

    The director R.B. Schlather gathered the cast of Handel’s “Giulio Cesare” for a quick pep talk before running through the opera last weekend. Not all the costumes were ready, and not everyone in the orchestra could be there, but they were about to see whether the show they had been rehearsing for several weeks even worked.“You’re getting to go through this thing for the first time,” Schlather told them, speaking also to the creative team and crew of his new “Cesare” production, which opens at Hudson Hall in Hudson, N.Y., on Saturday. “Don’t worry. I encourage you today to just go for it.”There was a bit of applause from the balcony: The rehearsal was open to the public, and some locals had shown up to get a taste of the work in progress. Staff of the production and hall left their perches to say hello to people they knew, some of whom were just passing through with their to-go coffees, shopping bags and dogs.Boundaries between artists and audiences aren’t always so porous, but in Hudson, locals are as represented onstage as off. Partly out of necessity, but also because of Schlather’s ethos, opera here is something more like community theater, executed at the level of a major company.R.B. Schlather, center, the director of “Cesare,” talking to musicians, from left, Coleman Itzkoff, Clay Zeller Townson and Elliot Figg.Lauren Lancaster for The New York TimesSome of the “Cesare” performers are commuting from a residency at Kaatsbaan Cultural Park nearby; others are just driving in from their houses. When they come together, it’s in a luxurious way that would be unimaginable 120 miles south in New York City. The artists have more freedom and, crucially, more time.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Under Trump, Kennedy Center’s Classical Offerings Will (Mostly) Go On

    The Kennedy Center’s flagship opera company and symphony orchestra announced Thursday that they plan to present robust and fairly typical programs next season, the first full season since President Trump took over the institution.But one prominent work was missing from the lineup: Gregory Spears and Greg Pierce’s “Fellow Travelers,” an opera set in the 1950s about two men working for the government who become lovers. The work was withdrawn by its creators because of concerns about Mr. Trump’s takeover, according to a letter obtained by The New York Times.Washington National Opera said the 2025-26 season would include classics like Verdi’s “Aida” and less commonly heard works like “Treemonisha,” an opera by the ragtime composer Scott Joplin. The National Symphony Orchestra is planning warhorses by Tchaikovsky and Shostakovich and world premieres by Carlos Simon, the Kennedy Center’s composer in residence; Valerie Coleman; and others.In a sign of the political sensitives at the Kennedy Center, the leaders of the opera and the symphony declined to be interviewed about the new season.The center has been in flux since Mr. Trump purged its previously bipartisan board of Biden appointees and had himself elected chairman. The president’s actions have prompted an outcry, leading some artists to cancel engagements there in protest. The musical “Hamilton” scrapped a planned tour there next year.The classical field, in which seasons are planned years in advance, has largely been unaffected. But the creators of “Fellow Travelers,” an opera based on the 2007 novel by Thomas Mallon, confirmed this week that they were pulling the work, which was supposed to have its Washington premiere next year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘We Are the Lucky Ones’ Gives Operatic Voice to a Generation

    This new opera assembles a compassionate, haunting portrait of the middle class that emerged from World War II and considers what they leave behind.Theaters are never truly dark. In between performances, a simple floor lamp is placed onstage and switched on. It’s called a ghost light, and depending on whom you ask, it’s either a practical safety measure or a way to ward off spirits. Some say it actually welcomes them.As audience members entered the auditorium of the Dutch National Opera on Friday for the world premiere of “We Are the Lucky Ones,” they were greeted by a ghost light that, true to its history, was open to interpretation.For one, it was a signal of artifice. “We Are the Lucky Ones” may be a moving work of music theater, but it is, ultimately, theater: a space for storytelling and reflection. The ghost light, though, also had a hint of the supernatural, summoning eight singers to an uncanny, purgatorial space so they could share their secrets, regrets and worries for the future.Their stories are, for the most part, true. “We Are the Lucky Ones,” with music by Philip Venables and a libretto by Ted Huffman and Nina Segal, is based on interviews with about 80 people born between 1940 and 1949, distilled into a headlong rush through time.What emerges, in an opera as compact and overwhelming as “Wozzeck,” is a portrait of a generation told with compassion, wisdom and artfulness. You can imagine a version of this story as an indictment of the age group that, as one character admits, “made a mess of things.” But while opera thrives on simplicity, with love blossoming over the few minutes of an aria, “We Are the Lucky Ones” is anything but simple.Stucker, left, and Rosen, in the opera, which is based on interviews with about 80 people born between 1940 and 1949.Dutch National Opera. Photo: Koen BroosWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Groping, greed and the lust for great power: what Wagner’s Ring Cycle tells us about Trump v Harris

    ‘America is ready for a new chapter,” Barack Obama declared to the Democratic National Convention in August, “America is ready for a better story.” Many would agree, but as commentators try to explain the bewildering reversals and bizarre dynamics of this long and unprecedented election campaign they have often instead reached for stories that are old and familiar.Shakespeare has been a popular reference point: Joe Biden has frequently been compared to King Lear in his reluctance to relinquish power, Donald Trump to everyone from Richard III to Macbeth. Yet a rather different form of drama, ostensibly less realistic and less obviously relevant to contemporary politics, may in fact offer analogies that are more illuminating still.Richard Wagner’s Ring of the Nibelung was first performed in its entirety in the Bavarian town of Bayreuth almost 150 years ago. As the cycle of dramas begins, the dwarf Alberich, the Nibelung from whom it takes its name, gropes the beautiful Rhinemaidens and lasciviously compares their charms. They carelessly reveal that their river contains gold that could make its owner master of the world, but only if he renounces love. Alberich accepts this condition and steals the gold, an act of despoliation whose consequences ripple out through the work’s four evenings. With his brother Mime as his apprentice, he makes a ring and a magic helmet that bring him supreme authority. Similarities with Donald Trump, his beauty contests and gameshows, his misogyny, his exhortations to “drill, baby, drill” and his amoral lust for power, are not hard to find.View image in fullscreenLike Trump, Alberich holds on to power for much less time than he hopes. His enemies exploit his vanity to trick him out of the ring, effecting a transition whose legitimacy he will never accept. Alberich exhorts his followers to revolt, but without success, and regaining the ring is an obsession that endures for the rest of the story. In the final drama, Twilight of the Gods (Götterdämmerung), Alberich enlists the help of Hagen, the son he has fathered in a loveless union with a mortal woman. Trump, too, relies on younger family members to prosecute his interests: Ivanka and her husband Jared Kushner were crucial figures in his presidency, Eric and his wife Lara have recently risen to prominence, Donald Jr is a constant presence.Trump’s latest surrogate is his vice-presidential candidate, JD Vance, reputedly selected at Donald Jr’s behest. Like Hagen, Vance is a vociferous advocate of marriage: in Twilight of the Gods, Hagen seeks matches for his half-siblings Gunther and Gutrune, supposedly for their benefit but in fact as part of an elaborate strategy to trick Siegfried into giving up the ring. Both Vance and Hagen offer plausibility, engaging in social interactions and vice-presidential debates with a superficial courtesy of which Trump and Alberich are incapable.But both are less interested in serving their promoters than in securing for themselves the ultimate prize, whether that is the ring or the 2028 Republican nomination.View image in fullscreenThe parallels between Biden and Wotan – the character who seizes the ring from Alberich – are equally striking. Like the 46th president, the king of the gods has accomplished much during his long career as a legislator, notably building the magnificent fortress of Valhalla.But he is tormented by his waning abilities, and the reluctant realisation that the task he wants to accomplish himself – the recovery of the ring from the dragon, Fafner – can only be achieved by a younger proxy: stronger, fearless and less tarnished by a lifetime of compromise. Ultimately, it is a female authority figure, older even than himself, who persuades him to abandon his ambitions. Few people know what Nancy Pelosi said to Biden in July, but the agonised confrontation between Wotan and Erda in Act III of Siegfried gives some idea of the likely emotions involved.Wotan’s daughter, the Valkyrie Brünnhilde, ends The Ring with an impassioned soliloquy. It is now impossible to predict whether Kamala Harris can emulate Brünnhilde by having the last word in this year’s election drama – but millions across the world cling to the hope that she will. Through most of Twilight of the Gods, Brünnhilde is exploited and humiliated by Siegfried, the hero she thought was her husband, and Hagen, the villain who uses her for his own ends. But in the drama’s final minutes, she emerges from her torment to convey a commanding message of love, laughter and joy. Harris’s willingness to embody these same values, conspicuously absent from recent political discourse, fuelled her swift transformation from patronised vice-president to plausible candidate. Journalists covering her campaign frequently comment on her personal warmth; her equally exuberant running-mate, Tim Walz, observes that “she brings the joy”.View image in fullscreenOf course, as many have noted, joy is not a political programme, and despite Harris’s success in changing the campaign’s character, she has struggled to define what she would do differently from the unpopular administration she has served. Late in the day though it came, Harris’s incursion into the hostile territory of Fox News, where she insisted that her presidency would not be a continuation of Biden’s, was a notable effort to do just that. The interview’s equivalent in The Ring is Brünnhilde’s searing encounter with Waltraute in act I of Twilight of the Gods, when she resists her sister’s pleas to halt their father’s decline by returning the ring to the Rhine. By doing so, she condemns Wotan to irrelevance, but also articulates what is most important to her, establishing the moral authority that allows her to command the cycle’s ending as she does.Needless to say, the parallels between Wagner’s story and that of the election only stretch so far. Incest and immolation, key motifs in The Ring, have not surfaced as themes even in the most surreal of Trump’s ramblings – though with a week to go, anything remains possible. Nor are there many swords and spears, dragons or talking birds in today’s American politics. Intrepid heroes, too, are notably absent, though perhaps there have been enough would-be Siegfrieds among Biden’s 45 predecessors. But if we take The Ring less literally, it offers extraordinary insights into how power passes from one generation to another, into the consequences of denuding the Earth of its resources, and into the transformative potential of love.Wagner has often been appropriated by the political right, notoriously during the Third Reich, and there is plenty in his writing to encourage fascists and authoritarians, not least the disgustingly antisemitic tracts that disfigure his posthumous reputation. But at the time he conceived The Ring, Wagner was a leftwing revolutionary, working to overthrow the regime in Saxony that employed him as Kapellmeister. As his idealism curdled into resignation, he experimented with different endings, giving Brünnhilde words that echoed the philosophy of renunciation of his new intellectual hero, Arthur Schopenhauer. He ultimately decided not to set these words, giving the final say instead to music, and to an ecstatic melody that he told his wife Cosima represented the “glorification of Brünnhilde”.View image in fullscreenThe Ring is many things: a practical realisation of a revolutionary theory of musical theatre; a compendium of brilliant orchestral sounds; a monumental physical and psychological challenge for singers; for some, a philosophical meditation or political tract. But it is also, perhaps above all, a supreme piece of storytelling, one that only truly exists when played out in a theatre. This need for perpetual recreation makes The Ring inescapably not just a story of its own time but of ours too, one that absorbs and reflects its audience’s preoccupations. And by allowing music to take flight in his drama’s final moments, Wagner invites his listeners to fill the imaginative space he has opened up, connecting his concerns with our own.Like The Ring, this election campaign still permits many possible endings, and like Wagner, the American electorate is leaving it uncomfortably late in the process to clarify which will prevail. The ultimate fate of Alberich is left ambiguous: almost uniquely among The Ring’s major characters, he is neither shown nor described as dying, though his world-view is discredited and his scheming thwarted, and he plays no part in the cycle’s final act. Perhaps the one certainty about this election is that whether defeated or victorious, Trump will not remain similarly silent. But whatever the outcome, old stories like Wagner’s can help us understand the newest chapters in our own. More

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    Review: ‘Il Trovatore’ at the Met Opera Doesn’t Catch Fire

    The energy in Verdi’s classic must come from the singing, but the cast of this revival fails to convey the work’s passion.Verdi’s “Il Trovatore” begins with a group of soldiers keeping a weary patrol. “Drive off the sleep that hangs heavy on our eyelids,” they sing, begging their commander to entertain them with a story.His spine-tingling tale riles them up. But the sleepiness never quite lifts from the revival of “Il Trovatore” that opened at the Metropolitan Opera on Saturday afternoon. While this was only the first of 12 performances of David McVicar’s cement-gray staging — a long run — already on Saturday there was the worn-out feeling of a show ready to rest.The conductor Daniele Callegari kept things flowing in the orchestra pit. But particularly in the operas of the Italian bel canto tradition from which “Il Trovatore” (1853) emerged, the energy — in this piece, it’s closer to crazed passion — must come from the singing.The tenor Michael Fabiano is usually the kind of artist who provides that energy, even if his voice can seem tensely pressed out rather than smoothly natural. As Manrico on Saturday, though, he tended listless, sounding strained from his first offstage song. He occasionally made some attractively plangent sounds, but couldn’t conjure this character’s moody restlessness.As Azucena, the mezzo-soprano Jamie Barton sang with neither the raw power nor the varied, surprising colors needed to make this long-suffering woman’s plight feel truly central to the story. Igor Golovatenko, a baritone who has made a strong impression at the Met in Russian works and, last season, in Verdi’s “La Forza del Destino,” was gruffer than usual on Saturday as Count di Luna.Fabiano and Willis-Sorensen. As Leonora, she kindled some of the passion the production was otherwise lacking. Ken Howard/Metropolitan Opera“Il balen,” his monologue about his consuming love for the noblewoman Leonora, should unfold in long, aching lines but here was tired and blunt. Even putting a leading man, the bass-baritone Ryan Speedo Green, in the supporting role of Ferrando didn’t end up seeming like luxury casting; this part wants richer depths than Green’s voice provided on Saturday.The show did give reassuring signs about the continued health of the Met’s chorus under its new director, Tilman Michael. That group of soldiers early on sounded hearty and believably frightened, and the women of Leonora’s convent sang with evocative mistiness.Best among the soloists was the soprano Rachel Willis-Sorensen as Leonora. She wasn’t entirely comfortable when agility was required, and she didn’t have the vocal heft and commitment to give the “Miserere” in the final act its full stature. But along with some light-filled high notes, there’s a gentle creaminess to her tone that made the aria “D’amor sull’ali rosee” feel earnest and true.Thanks to Willis-Sorensen, some embers of passion glowed near the opera’s end. But it was too little, too late, for a performance that never caught fire.Il TrovatoreContinues through Dec. 6 at the Metropolitan Opera, Manhattan; metopera.org. More

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    Review: This ‘Figaro’ Puts All Mozart’s Characters in One Voice

    By singing men and women, nobles and servants, the countertenor Anthony Roth Costanzo takes the opera’s theme of human mutability to a chaotic extreme.Charles Dickens was celebrated for solo public readings in which he would give voice to a novel’s full cast of characters. I’ve watched the great actor David Greenspan take all the roles in Eugene O’Neill’s sprawling play “Strange Interlude” and, earlier this year, saw Eddie Izzard do the same in “Hamlet.”But when the countertenor Anthony Roth Costanzo has a go at a similar feat — performing Mozart’s “The Marriage of Figaro” as a one-man show at Little Island — it is an altogether different ambition.An opera singer’s repertoire is usually firmly circumscribed. Sure, transposition can nudge unfriendly music into a more comfortable key. And sure, some mezzo-sopranos can sing some soprano parts, and vice versa. But while Dickens, in a reading, could shift from Scrooge to Tiny Tim simply by adjusting an accent or affecting a growl, it’s another story for one person to hit the notes of both Susanna and the Count in “The Marriage of Figaro,” let alone invest both with beauty and power.A vocal range can be wide, but it’s not infinite; a singer’s identity tends to be pretty fixed.It’s that fixity that Costanzo, who has recently been named the general director of Opera Philadelphia, means to have some fun with. Mozart and his “Figaro” librettist, Lorenzo Da Ponte, might well nod along: The opera is full of characters pretending to be other people, even other genders. Human mutability is one of the main themes.Costanzo — with his director, Dustin Wills, and his arranger and conductor, Dan Schlosberg — takes this to a challenging, chaotic extreme. In this much-trimmed 100-minute “Figaro,” Costanzo sings all the parts, or enthusiastically tries to: men and women, nobles and servants, high notes and low.I was misleading earlier, however: This isn’t precisely a one-man “Figaro.” It’s more of a one-voice version, with a handful of actors joining Costanzo onstage for much of the relentlessly high-spirited performance, playing main roles, some cast across gender, and impressively lip-syncing along with Costanzo’s sung Italian. (Toward the end, there are also sweet — and audible — contributions from a few child members of the Young People’s Chorus of New York City.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More