Happy was I last Saturday night that the production found its way to the Dorothy Chandler Pavilion with its stage illusions intact and ready to seduce a very willing audience at LA Opera.
This summer has been filled with outdoor concerts. I once heard that Mozart’s favorite instrument was the sad and desperate viola. I have to say mine is the lovely delicate harp. That’s because not even the conductor is certain of how it works. The harp is a mystery yet where would Tchaikovsky’s Waltz of the Flowers be without it?
There’s nothing like music for lifting the spirits. Yesterday I joined Pasadena Pro Musica for caroling at one of Pasadena’s most unique buildings, the Castle Green.
Last night at Disney Hall, Gustavo Dudamel lead the L.A. Philharmonic and opened with Beethoven’s Coriolan overture. Dudamel is very physical and electrifying in his approach. It was followed by Creative Chair John Adams’ Absolute jest, a piece for string quartet and orchestra,
Florence Foster Jenkins I believed would be a barrel of laughs since it’s about a woman singing badly.
Although it’s based on a true story, it missed the mark. It feels like a 1940’s studio comedy- soon to be forgotten after you leave the theater.
It’s subject is an American amateur opera singer whose voice brought joy to millions in the depths of wartime, largely because she could turn even the most graceful coloratura soprano line into what could described as a screeching aria.
Like most of us one time or another, they are trapped by an uncaring world and by their own shortcomings. It’s a condition familiar to anyone who has ever felt defeated and estranged — rich, poor, loved and unloved, and it’s what gives Grey Gardens its emotional resonance.