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...next. Beethoven himself stood in awe of Haydn's oratorios The Seasons and The Creation. They are both on the schedule. So are ten of the Masses, notably In Tempore Belli and Lord Nelson. High among the novelties this week will be a marionette performance of Philemon und Baucis at the Smithsonian and a rare staging by the Indiana University Opera Theater of The World on the Moon, a lighthearted farce...
Last week Die Tote Stadt was finally revived by the New York City Opera, with Jeritza, now a remarkably robust and handsome 87, sitting in the fourth row center. Even in the 1920s, Die Tote Stadt was an anachronism. Korngold was to Richard Strauss what Engelbert Humperdinck (Hansel und Gretel) was to Wagner-a brilliant but minor follower. The style of Die Tote Stadt is a lush, clamorous, occasionally schmaltzy orchestral sonorama that lies somewhere between Der Rosenkavalier and Elektra, with special added effects from Puccini, Debussy, Mahler and Rimsky-Korsakov. The best of its vocal moments, like the taunting...
...last year he carried his team to a national championship. When he plays in his club's home arena, screaming girls shower him with confetti and every game is S.R.O. Despite his popularity, Jimmy Wilkins of San Jose, Calif., is unfamiliar to American fans; he plays for Spiel und Sportverein (Game and Sports Club) in Hagen, West Germany...
...sophisticated stage direction of Germany's August Everding, 46, shows traces of the admirable Tristan und Isolde he conceived for the Met in 1971. Everding has an almost TV-like fondness for "closeups," achieved through the use of solo spotlights. At key moments, Everding darkens the stage and picks out a character with a single spot. Isolating Boris at the end of the coronation scene is brilliant stagecraft. But giving the Simpleton a solo spot in the forest clearing, at the opera's end, is mere staginess...
...time Mostert has evoked this world-as graphically as Conrad presents the Sturm und Drang facing the captain of the steamer Nan-Shan in Typhoon-the reader, stuffed with sea lore, has been shanghaied aboard a ghostly voyage from the demanding past into the threatening future. Ardshiel has bicycles-for exercising on deck-but no ship pets, because. Mostert suggests, there is no crew continuity. (By contrast, the Aquitania, when scrapped in 1950, disgorged ship's cats all descended from a tabby who went aboard on the maiden voyage in 1914). Mostert mildly mourns the fact that nobody refers...