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Weekend Roundup

Iréne Theorin's Brünnhilde prepares to wake up. (Karin Cooper for WNO)

In today's Washington Post:

"Siegfried," once again: Lindskog's Siegfried, Still Not Ready for Prime Time, by Anne Midgette.
[I am hearing all kinds of feedback about WNO's "Siegfried;" I'm most struck at the number of those who dislike the "Regiekonzept" but nonetheless find the evening dramatically engrossing. Any more thoughts? The Comments section is open.]

Bach Sinfonia's "King Arthur" at Strathmore (scroll down for review), by Cecelia Porter.

The Crosscurrents festival: So Percussion: So Engaging, by Ronni Reich.



The English National Opera opened its new "Peter Grimes" this weekend, and the critics are raving. The Guardian calls David Alden's production "outstanding" and says Stuart Skelton gives "a towering performance." The Financial Times is more measured about Amanda Roocroft's Ellen and Gerald Finley's Balstrode, but thinks Edward Gardner's conducting is "intensely revealing." The Times is less effusive, but still likes it.

One of the highlights of the season is the Barenboim/Boulez presentation of the complete Mahler symphonies, in chronological order, at Carnegie Hall with the Staatskapelle Berlin; this weekend saw Two, Three, and Four (all under Boulez).


Tonight in Washington:
Till Fellner takes on Round 3 of his ongoing exploration of the complete Beethoven piano sonatas at the Austrian Embassy in Washington. (Here, to refresh your memory, are reports of Round 1 and Round 2.)

By Anne Midgette  |  May 11, 2009; 6:30 AM ET
Categories:  Washington , local reviews  
Save & Share:  Send E-mail   Facebook   Twitter   Digg   Yahoo Buzz   StumbleUpon   Technorati   Google Buzz   Previous: In Performance: Local Reviews
Next: In With the Old: New Works by Old Masters


Lindskog was actually sub-par (sorry, couldn't resist!) I actually thought he would make a good Mime.

Solid all-around job from anyone else; I thought however that the entrance of the Forrest Bird was problematic but that the singer quickly recuperated.

The production somehow managed to be both socialist and neocon - and the strange thing is that it somehow works. To explain why I called it "neocon": Zambello clearly, though perhaps unwittingly, argued in favor of, brrr....., "harsh interrogation techniques." Mime, after being tortured in water, reveals the truth about Siegfried's parents - though not "the whole truth."

Posted by: cicciofrancolando | May 11, 2009 12:08 PM | Report abuse

I want to commend Anne Midgette for linking two other reviews of Turendot in addition to her own. All reviewers have their biases and reading what three people think is much more informative to the reader than just one person's opinion. Of course, the one opinion that really counts for me, mine, will not be formed until Tuesday night when I see the opera. Again, though, thanks for letting us read other viewpoints.

Posted by: sherwinkaplan1 | May 18, 2009 1:13 PM | Report abuse

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