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 month ago |
symphony.org | Heidi Waleson
| Four composers of upcoming and recent works talk about personal expression, forging fresh sonic realms, and writing big new scores for the “irreplaceable heft of the orchestra.” Change font size A Decrease font size. A Reset font size. A Increase font size.
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1 month ago |
wsj.com | Heidi Waleson
The New York company adapts Gounod’s classic in a production that proves theatrically inventive but musically uneven. Heartbeat Opera’s radical adaptations of classic titles can soar or fall flat, but one constant has always been music director Dan Schlosberg, whose ingenious maverick arrangements—such as February’s “Salome” for eight clarinetists and two percussionists—never fail to stimulate. Until now. Copyright ©2025 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
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1 month ago |
wsj.com | Heidi Waleson
The New York company adapts the French composer’s classic in a production that proves theatrically inventive but musically uneven. Heartbeat Opera’s radical adaptations of classic titles can soar or fall flat, but one constant has always been music director Dan Schlosberg, whose ingenious maverick arrangements—such as February’s “Salome” for eight clarinetists and two percussionists—never fail to stimulate. Until now. Copyright ©2025 Dow Jones & Company, Inc. All Rights Reserved.
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1 month ago |
wsj.com | Heidi Waleson
The Virginia Opera and the Richmond Symphony presented Damien Geter’s new opera about the landmark Supreme Court case striking down bans on interracial marriage; at the Met, John Adams’s Shakespeare adaptation is much improved from its 2022 premiere in San Francisco. To celebrate its 50th anniversary, the Virginia Opera teamed up with the Richmond Symphony to commission a work with a state-centric story. Damien Geter’s “Loving v.
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1 month 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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