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The New Criterion

The New Criterion is probably more consistently worth reading than any other magazine in English.
- The Times Literary Supplement


December 2011

“Idomeneo” on Crete

by Heather Mac Donald

On the Opera San José's production of Mozart's 1781 work.

The humanists who created the first operas in late sixteenth-century Florence hoped to recapture the emotional impact of ancient Greek tragedy. It would take nearly another 200 years, however, for the most powerful aspect of Attic drama— the chorus—to reach its full potential on an opera stage. That moment arrived with Mozart’s 1781 opera Idomeneo, re di Creta. This September, Opera San José performed Idomeneo’s sublime choruses with thrilling clarity and force, in a striking new production of the opera that wedded a philanthropist’s archeological passion with his love for Mozart. San José’s Idomeneo was a reminder of the breadth of classical music excellence in the United States, as well as of the value of philanthropy guided by love.

In 1780, the twenty-four-year-old Mozart received his most prestigious commission ...

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Heather Mac Donald is a Fellow at the Manhattan Institute.

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This article originally appeared in The New Criterion, Volume 30 December 2011, on page 62

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An exuberant “Comte Ory”

by Heather Mac Donald

On the New York premiere of Rossini's comic opera.

Another view: America’s flaw or Bloom’s?

by Heather Mac Donald

On a number of the potential flaws in Bloom's "The Closing of the American Mind."

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