28 Nov 2006
Opera on verge of caricature
http://www.theglobeandmail.com/servlet/story/LAC.20061127.OPERA27/TPStory/TPEntertainment/Music/
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Paris Opera Awards 2013
http://www.paris-opera-awards.fr/parisoperraawards-9480.html
London: Music under the shadow of Handel
http://www.gresham.ac.uk/lectures-and-events/london-music-under-the-shadow-of-handel
Sir Colin Davis Dead at 85
http://www.telegraph.co.uk/news/obituaries/9994121/Sir-Colin-Davis.html
“Culture: the cement that binds Europe together”
http://europa.eu/rapid/press-release_SPEECH-13-280_en.htm?locale=en
Welcome to awards night at the opera
http://www.standard.co.uk/arts/welcome-to-awards-night-at-the-opera-8493092.html
Wolfgang, Is That You?
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A New Hall for Tiroler Festspiele Erl
http://www.operatoday.com/content/2013/01/a_new_festival_.php
Simon Boccanegra Opens Rome Opera 2012-13 Season
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Glyndebourne 2013
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The Singer’s Appetite!
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Record Attendance at Salzburg
http://www.operatoday.com/content/2012/09/new_attendance_.php
“Ich kann mir keine deutschen Sätze merken”
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Debussy at 150: The Impressions Still Deceive
http://www.nytimes.com/2012/08/19/arts/music/debussys-150th-birthday-gets-little-notice.html?_r=1&ref=music
Bayreuth Does It Again
http://www.operatoday.com/content/2012/08/another_bayreut.php
Florida Grand Opera Appoints New Artistic Administrator
http://www.operatoday.com/content/2012/07/changes_at_flor.php
Friedrich Haider Appointed Artistic Director of Slovak National Theatre
http://www.operatoday.com/content/2012/07/changes_in_brat.php
Margrave Opera House Receives UNESCO World Heritage Status
http://www.operatoday.com/content/2012/07/honors_for_bayr.php
Wiener Staatsoper’s Financial Condition Improves
http://www.operatoday.com/content/2012/07/continued_progr.php
Uwe Erich Laufenberg Fired
http://www.operatoday.com/content/2012/07/lots_of_loose_e.php
Nicolas Bachler’s Contract Extended
http://www.operatoday.com/content/2012/06/bavarian_state_.php
OPERA TODAY ARCHIVES »
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ELISSA POOLE [Globe and Mail, 27 November 2006]
Verdi's Macbeth wastes no time on the psychology of its characters in its first act, and the king's murder is no sooner mentioned than accomplished. But the opera unfolds on two planes, at two separate tempos. On the one hand, there's the trajectory of violence, which moves extremely quickly and escalates with unstoppable momentum once the first murder takes place.