Bernheimer: A Tragedy That Wants (Cautiously) To Be A Masterpiece

Martin Bernheimer writes that Tobias Picker’s “American Tragedy” gets a good production at the Met. But “Picker’s score is undeniably crafty, also cautious and well-mannered to a fault. It deals knowingly in second-hand operatic devices, cranking out good mood music and gutsy cliches at every turn. There are no surprises here, no shocks, and very few dissonances. The first-nighters seemed grateful. An American Tragedy may be the perfect modern opera for people who hate modern opera.”

English National Opera’s Doldrums

“Those looking for proof of Robert Conquest’s maxim that any major institution always seems to be run by secret agents employed by its enemies need only examine ENO’s recent history. What next for the house? Well, come back after your interval G and T for more in this unmistakable vein of grand guignol. All this is very well and good, but it’s obviously impacting on the artistic achievements of the house. For a long time now, it’s been incredibly patchy.”