D a l l a s R o b b i n s

Back in the City Weekly

Well, after a bit of a hiatus, I'm back in the City Weekly this week.  (Next week too!)

Just got out of the habit, but it's a nice gig when you can get it.

This week I give a brief preview for Utah Opera's production of Beethoven's Fidelio, playing now.  His only opera and one that definately is as powerful today as it was when it originally premiered. 

(Ya, ya, Beethoven, boring, I hear you say.  But remember the ending scene of the King's Speech, when he was giving the King's speech?  Well the music was Beethoven's Symphony No. 7 in A Major, which underscored that moment perfectly, and created a transcendent, aesthestic moment.  So try an opera for once in your life, it won't kill ya.)

I am hoping to contribute more over the next while to the CW, hopefully 2-3 times a month.  As a writer, it's a nice break from other involving projects, providing me a clear, deadline-driven focus.

Now, back to the novel...

Keith's Finale, Bernstein's MASS: City Weekly

With his all-American good looks and musical talent to burn, Keith Lockhart has given Utah music lovers more than their fair share of enjoyment. After inspiring us as conductor and musical director of the Utah Symphony since 1998, he now is bowing out from the Utah stage, leaving us all a little poorer.

Utah Opera: Puccini's Tosca

"Why should those two guys over there go to the opera?” asks Guido LeBron, pointing through the windows of the Utah Opera rehearsal hall across the street to two workers taking a break outside of the SpringAir Mattress company. Those “two guys” might be amused to know this conversation is taking place among a talented group of musical artists for their sake.