PARTERRE BOX

REVIEW: Die Tote Stadt at Bard, and Leon Botstein’s Korngold Project

Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.

The biggest problem here was sensory overload.

Although I saw this provocative production a month ago, I continue to think about it.

The maestro captures superbly this work’s complex mix of diverse elements.

For all of its winking loucheness, the show is utterly devoid of any real suggestion of sex.

A thrillingly full-throttle rarity, with much to celebrate in the fine singing here.

Within minutes, something wonderful happened, and none of my reservations mattered.

A radiant performance showcased the exceptional work done here by gifted young singers.

This 11 CD collection confirms Fassbaender’s status as one of the greatest interpreters of recent times.

Adams, superb at crafting arcs of sound, can’t handle characters or narrative.