Working with an ensemble that obviously had deep feeling for the music, Noseda drew thoughtful, balanced playing from the utterly responsive LSO. All throughout, his controlled-yet-fluid conducting reflected the grandiose scale of the piece, a monumental expression of mourning and human confrontation with death.
With the white-knuckled Karita Mattila playing the upright, deeply conflicted Kostelnicka, it simply isn’t possible to look away.
Washington National Opera opened its 2016-17 season last week with an uneven, unjaded, if not unenjoyable, performance of Mozart’s The Marriage of Figaro that just couldn’t turn separate “jinx” from the desired “hijinks.”
This was Così, straightforward and unaltered. While it would have been great to see Christophe Honoré’s provocative production, what arrived at Lincoln Center was a musical presentation of the highest quality.
A misguided “Sweeney Todd” and an adaptation of “The Crucible” round out a weekend at the Glimmerglass Festival.
Jamie Barton delights in “Bon Appétit!” and Rossini’s “Thieving Magpie” receives an energetic presentation.
While this performance was cast to perfection from top to bottom, the success of Sunday’s presentation was due in no small part to the incredible Leonore of Elza van den Heever, her first performance of the part.