Robert Levine

REVIEWER

Robert Levine is music writer and editor. He initiated Amazon.com's classical CD store. Author of "Weep, Shudder, Die - A Guide to Loving Opera," "Maria Callas - A Musical Biography," and "A Child's Guide to the Orchestra".

Lucia di Lammermoor at the Berkshire Opera

Lucia di Lammermoor at the Berkshire Opera. About six years ago, I discovered the Berkshire Opera (just re-named the Berkshire Opera Festival), an innovative, clever, and thoroughly professional company that operates out of the restored 123-year-old Mahaiwe Performing Arts Center in Great Barrington, Massachusetts. The charming theater seats 680; there is no orchestra pit. The opera was Donizetti’s Don Pasquale, and the 30-or-so musicians were in an upper corner of the stage, barely visible, but audibly well-balanced with the singers. The production was updated to the 20th century with no outrages: Norina, by the time she had taken over Pasquale’s household, was dressed as a dominatrix – not all that far from the text.

Turandot in New York

Turandot. I love traditional productions as much as the next fellow, but I take Regie productions one at a time. Claus Guth’s Freudian look at Salome was the most potent and disturbing iteration of that opera I’ve ever seen, while the Met’s Carrie Cracknell-conceived Carmen is absolute junk – no Spanish flavor, and a second act that takes place in a moving railroad boxcar! If the audience is puzzled or disgusted, you’re doing something wrong. Worse, even, was Simon Stone’s Lucia di Lammermoor, now taking place in a run-down town in the American rust belt, peopled by drug addicts and cameramen filming the action. Wretched.

Magnificent Benjamin Bernheim Stars in Met’s “Hoffmann”

Magnificent Benjamin Bernheim. The four villains require great range, both vocally and dramatically and Christian Van Horn filled them all. The snide Lindorf, the crazed Coppelius (who sells eyes on the side), the pure evil, murdering Dr Miracle and the silk, elegant Dappertutto all benefit from his dark, resonant tone. Mr Sher has given little delineation to each; Mr Van Horn completed what Sher left out. The third star turn of the evening was from Erin Morley as Olympia. Hers was an object lesson in wacky acting, perfectly wed to high flying coloratura music. She actually embellishes the already difficult doll song and does not stop at the vertiginous E flat. She soars even higher, up to an A flat above high C. The audience found it delicious.