Armchair Operas and Amusements

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Armchair Operas and Amusements 9.

In Svoboda’s wide-ranging homage, original bits may be recostumed or might lurk beneath contemporaneous texts.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Armchair Operas 8.

A week spent in Stockholm put me near the Raoul Wallenberg memorial, sited within view of the capitol’s water and synagogue. Easy to miss at first, the granite sphere soon becomes a landmark.

Armchair Operas 7.

Der Mond appeared two years after the runaway hit Carmina Burana, and like most everything Orff penned in its wake, it shares the same beer-hall bravado, diatonic gamut and hammering rhythms.

Armchair Operas 7.

Der Mond appeared two years after the runaway hit Carmina Burana, and like most everything Orff penned in its wake, it shares the same beer-hall bravado, diatonic gamut and hammering rhythms.

Armchair Operas 6.

Eighty sluggish minutes dramatize three months in Bruckner’s life. The insecure 43-year-old spent the summer of 1867 at Bad Kreuzen wrestling with a decision: to leave Linz and seek his fortune in Vienna as a composer, or journey to Mexico.

Armchair Operas 6.

Eighty sluggish minutes dramatize three months in Bruckner’s life. The insecure 43-year-old spent the summer of 1867 at Bad Kreuzen wrestling with a decision: to leave Linz and seek his fortune in Vienna as a composer, or journey to Mexico.

Armchair Operas 5.

A pair of DVDs present some of the short-lived Vivier’s most important works in theatrical performances, a two-evening spectacle, Rêves d’un Marco Polo, assembled by de Leeuw and Audi.

Armchair Operas 5.

A pair of DVDs present some of the short-lived Vivier’s most important works in theatrical performances, a two-evening spectacle, Rêves d’un Marco Polo, assembled by de Leeuw and Audi.

Armchair Operas 4.

I recall when this 1987 recording first appeared, suddenly illuminating a forgotten genre. The French Baroque gestures made a strong impression, and I subsequently trusted Christie and Les Arts Florissants for period favorites…

Armchair Operas 4.

I recall when this 1987 recording first appeared, suddenly illuminating a forgotten genre. The French Baroque gestures made a strong impression, and I subsequently trusted Christie and Les Arts Florissants for period favorites…

Armchair Operas 3.

With a knowing nod towards Pasolini’s Salò, McVicar and Devlin have set Strauss’ luscious single act (and last avant-garde salvo) in a high-ceilinged, multi-purpose cellar whose dingy tiles and fittings suggest a kitchen, showers, or more appropriately, an abattoir.

Armchair Operas 3.

With a knowing nod towards Pasolini’s Salò, McVicar and Devlin have set Strauss’ luscious single act (and last avant-garde salvo) in a high-ceilinged, multi-purpose cellar whose dingy tiles and fittings suggest a kitchen, showers, or more appropriately, an abattoir.

Armchair Operas 2.

With broad, sweeping strokes, Alessandrini brushes away years of dust and speculation.

Armchair Operas 2.

With broad, sweeping strokes, Alessandrini brushes away years of dust and speculation.

Armchair Operas 1

Dacapo describes Langgaard’s bizarre Antikrist as a “religious mystery opera,” “magnificent doomsday vision” and “full length nightmare.”

Armchair Operas 1

Dacapo describes Langgaard’s bizarre Antikrist as a “religious mystery opera,” “magnificent doomsday vision” and “full length nightmare.”