Heidi Waleson
Opera Critic at The Wall Street Journal
Opera critic for @WSJ, philanthropy expert. Author of Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America
Articles
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1 week ago |
wsj.com | Heidi Waleson
DetroitMozart’s “Così fan tutte” is always a challenge: How does a director interpret its superficially misogynistic story—on a bet, two unsuspecting women are manipulated into trading lovers, the assumption being that women are inherently fickle—in a way that’s palatable to a contemporary audience?
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2 weeks ago |
wsj.com | Heidi Waleson
Recent productions in Germany and the Netherlands—of classics, curiosities and contemporary works by composers ranging from Strauss to Saariaho—powerfully exemplified the scene’s risk-taking artistic ethos. Berlin; Dresden, Germany; AmsterdamNew Yorkers who visit Berlin often feel at home—the German city is busy, sprawling, decidedly unquaint, has efficient public transportation, and is packed with culture.
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1 month ago |
wsj.com | Heidi Waleson
New YorkIf “operatic” is a synonym for “big,” Herman Melville’s sprawling novel “Moby-Dick” should be ideal source material for the stage. Jake Heggie’s 2010 operatic treatment certainly took up a lot of aural and visual space at its Metropolitan Opera premiere on Monday, but there was an emptiness at its heart. Copyright ©2025 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
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1 month ago |
wsj.com | Heidi Waleson
New YorkIf “operatic” is a synonym for “big,” Herman Melville’s sprawling novel “Moby-Dick” should be ideal source material for the stage. Jake Heggie’s 2010 operatic treatment certainly took up a lot of aural and visual space at its Metropolitan Opera premiere on Monday, but there was an emptiness at its heart.
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2 months ago |
wsj.com | Heidi Waleson
Heartbeat Opera presents a radically stripped down and re-orchestrated version of Strauss’s classic in Brooklyn; in Manhattan, Opera Lafayette and OperaCréole staged the world-premiere production of what is thought to be the oldest existing opera by a black American. New YorkHeartbeat Opera, now in its 11th season, radically rethinks classics, and its new “Salome,” adapted by Jacob Ashworth and Elizabeth Dinkova and playing at the Space at Irondale in Brooklyn, is no exception.
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Thrilled that “Mad Scenes and Exit Arias” has been recognized by ASCAP’s Foundation Deems Taylor/Virgil Thompson Award for outstanding music criticism. https://t.co/6NFlRS2XSC
‘The Ring’ at the Met Review: The Robert Lepage production of Richard Wagner’s epic cycle returned to New York https://t.co/K8tivGaKHL via @WSJ
