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
Claus Guth’s production of the Strauss opera at the Met emphasizes its heroine’s history of abuse in telling the tale of obsession and decapitation; at Carnegie Hall, Harry Bicket and the English Concert brought Handel’s epic of love and vengeance vividly to life. From its insidious opening clarinet solo, Richard Strauss’s “Salome” is a creepy, unsettling piece of theater, its story rooted in unhealthy sexual obsession.
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1 week ago |
wsj.com | Heidi Waleson
In the hall’s inaugural concert last weekend, the Jupiter Ensemble performed the music of Handel featuring mezzo-soprano Lea Desandre and was joined by countertenor Anthony Roth Costanzo for a premiere by Nico Muhly. The renovated Frick Collection includes a splendid new asset for the New York music scene: The Stephen A. Schwarzman Auditorium.
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3 weeks ago |
wsj.com | Heidi Waleson
In upstate New York, director R.B. Schlather sought to wrestle Handel’s opera into modernity; in Brooklyn, Anthony Roth Costanzo offered a performance considering the high male voice that included an olfactory component. Director R.B. Schlather’s operas in Hudson Hall are billed as no-frills projects, with talent and materials locally sourced as much as possible. They are popular, judging from the jammed-in, SRO crowd at Handel’s “Giulio Cesare,” which opened on Saturday.
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1 month 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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1 month 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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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
