Opera
The Operatic Canon: Forgotten Chestnuts and Poisoned Violets
As a genre, opera is not a high earner. Indeed, the amount of money that must be invested to produce one is staggering: the costs are high and possibility for success unpredictable. Thus the question of programming has been a primary concern since the start of public opera. What will audiences want to hear? How can balance be achieved between the composition and its execution? Which works will keep the reliable patrons coming and draw in new audience members to the performance?
Opera in Germany after World War II: A Journey in Images
How German cities, how German cultural life reemerged after the Second World War has interested me for a long time. Earlier on today I was browsing the LIFE photo archive that contains quite a few images relating to the post-war music scence in Germany. Here are some of the treasures I found.
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