Operatic history can be cruel where multiple works with the same subject are concerned, generally consigning all but one example to obscurity, or at best the fringes of the regular repertory. In the case of Massenet’s 1881 Hérodiade, it isn’t hard to see how the work’s gentle melodies and crowd-pleasing Orientalism became hopelessly uncool in the wake of Richard Strauss’ blockbuster treatment of the Salome story a quarter century later. Yet, as demonstrated by a committed, strongly cast performance by Washington Concert Opera this past Sunday, these judgments can be unfair.Read the whole thing here...
Tuesday, November 29, 2016
Herodiade at WCO
I wrote about Washington Concert Opera's presentation of Herodiade for Parterre: