Singers have become lab rats for directors.
The International Monetary Fund cut its growth forecasts for France and said the country had to build on efforts to free up its labor market.
The love-struck heroine of “Simon Boccanegra” is 25, according to Verdi. If I am doing the math right, in English National Opera’s new production she’s a pensioner of at least 68.
The satire hits with a surprising slap in Harold Pinter’s “The Hothouse.”
Comedies are like Eurozone crises. You wait ages for one, and then three turn up at once.
France lost its top credit rating at Fitch Ratings, which highlighted concern about lack of growth and the buildup of debt in Europe’s second-largest economy.
The events in English National Opera’s “The Flying Dutchman” sometimes appear to be a product of the heroine’s imagination. Often they aren’t. Often it’s hard to care.
American soprano Catherine Malfitano has sung Puccini’s opera “Tosca” all over the world. Now she’s directing it in London. Perhaps her move off stage is a step too far.
When asked about an invitation to become a Young Global Leader with the World Economic Forum, soprano Anna Netrebko candidly said that she didn’t know what the World Economic Forum was.