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Larry Wolff

Larry Wolff is Silver Professor of History at NYU, Executive Director of the NYU Remarque Institute, and the author of The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon. (September 2018)

IN THE REVIEW

I Feel Pretty

Leonard Bernstein conducting the New York Philharmonic at Carnegie Hall, 1960; photograph by Henri Cartier-Bresson

Mass

by Leonard Bernstein, performed by the Mostly Mozart Festival Orchestra, conducted by Louis Langrée, Lincoln Center, New York City, July 17–18, 2018

Famous Father Girl: A Memoir of Growing Up Bernstein

by Jamie Bernstein
In 1897 Gustav Mahler, born Jewish, converted to Roman Catholicism to take up the position of music director of the Vienna Court Opera. While Mahler’s conversion is often viewed as a matter of professional convenience and conformity, it is also true that Christian texts and Christian feeling were powerfully important …

End Notes

The Mozart family; painting by Johann Nepomuk della Croce, circa 1780–1781

Mozart in Vienna: The Final Decade

by Simon P. Keefe
In 1778, when Mozart was twenty-two, he went to Paris for six months, accompanied by his mother, leaving his father and sister in Salzburg. It turned into a difficult time for him: his mother became ill and died, which he hesitated to reveal to his father, staging the news gradually …

All the World’s a Stage

A scene from the Handspring Puppet Company’s production of Monteverdi’s The Return of Ulysses, directed by William Kentridge

The Politics of Opera: A History from Monteverdi to Mozart

by Mitchell Cohen
Machiavelli’s The Prince was presented to the Medici family in 1513 with a dedication that turned out to be much more than a flattering formality since, for the next five centuries, it remained attached to the most influential treatise of modern political theory. Machiavelli began by observing that “those who …

Signor Tambourossini

Luca Pisaroni as the Ottoman Sultan Mahomet II and Nino Machaidze as the Greek Christian woman Pamyra in Gioachino Rossini’s The Siege of Corinth at the Rossini Opera Festival, Pesaro, Italy, August 2017

The Siege of Corinth

an opera by Gioachino Rossini, produced by La Fura dels Baus, at the Rossini Opera Festival, Pesaro, Italy, August 10–19, 2017
Two days after the Islamist attack in Barcelona on August 17, a chorus of Greek warriors sang out from a stage in the little town of Pesaro on the Adriatic coast of Italy: “We take up the sword; the Muslims are climbing our ramparts.” They were met by a chorus …

NYR DAILY

A Longed-For Tristan

Camilla Nylund and Jonas Kaufmann performing Tristan and Isolde, with conductor Andris Nelsons and the Boston Symphony Orchestra, Carnegie Hall, New York City, April 12, 2018

Tristan und Isolde is an opera about longing, but the longing in Carnegie Hall was focused on tenor Jonas Kaufmann, after several cancellations of performances in New York, notably at the Metropolitan Opera. He is easily the most celebrated tenor in the world today, sings to great acclaim in a variety of styles, from Wagner to Puccini. At the end of this performance, he was collecting so many bouquets that it began to seem a little insulting to the marvelous Finnish soprano singing Isolde, Camilla Nylund.

‘Così’ in Coney

Ben Bliss as Ferrando, Amanda Majeski as Fiordiligi, Serena Malfi as Dorabella, and Adam Plachetka as Guglielmo in Mozart's Così fan tutte, 2018

There are few operatic works so cheerfully indifferent to morals as Così fan tutte, and it was largely deplored and rarely performed through most of the nineteenth century. Mozart’s librettist, Lorenzo Da Ponte, Jewish by birth, became a Catholic priest and then caused scandal by his libertine love affairs before leaving the priesthood; he was having an affair with the soprano who created the role of Fiordiligi. As for Mozart, he was the man who knew all about the serial courtship of sisters, since he first fell in love with Aloysia Weber and then married her younger sister Constanze.

Wagner on Trial

In Barrie Kosky’s new production of Die Meistersinger, which opened the 2017 Bayreuth Festival, the musical cobbler Hans Sachs has been restyled as his creator Richard Wagner, isolated in the witness box at the Nuremberg Trials, and we the audience have now become the tribunal, passing judgment on him. Sachs, singing of German art, seems to be desperately pleading for absolution after the vicious ways in which German high culture—and especially Wagner’s music—was harnessed to the ideology of Nazism.