Heidi Waleson has been the opera critic of the Wall Street Journal for 25 years. In addition to her regular criticism, her work has also focused more broadly on the changing profiles of musical institutions, new models for opera presentation, and the broader significance of opera and culture. She is a faculty member of the Rubin Institute for Music Criticism at the San Francisco Conservatory of Music.
Heidi Waleson has written much more than the story of a beloved opera company's demise--though she does that with verve, wit, a sharp journalistic eye, and deep critical wisdom. She chronicles a venerable art form undergoing a difficult but inevitable evolution, and you finish the book with an unexpected sense of hope. --Alex Ross, author of The Rest Is Noise Thoroughly researched, factually detailed, judgmentally well-balanced, and engrossing. --Opera In this richly informative chronicle of NYCO's decline and fall, Waleson persuasively argues that what happened to City Opera (and, by extension, the Met) could happen to other opera companies as well. --Commentary Heidi Waleson has delivered a detailed account of the struggles of one of the nation's most storied opera companies. She goes beneath the surface to examine the underlying social and demographic changes that have shaped New York's cultural scene over the last half-century and explores essential issues of governance and leadership. It is the story of one organization, with lessons for all. --Marc A. Scorca, President and CEO, OPERA America Heidi Waleson gives a vivid account of the twilight and fall of NYCO--an almost operatic fable of oversized egos and misplaced trust--and shows what the demise of the original 'People's Opera' may mean for the future of opera and classical music. Truly, a cautionary tale. Her deft analysis and knowing grasp of the material make this essential reading for anyone who cares about opera. --Charles MacKay, former general director, the Santa Fe Opera Meticulously researched, Mad Scenes and Exit Arias is both a gripping read and a cautionary tale for all lovers of opera and the arts in America today. Yet Heidi Waleson ends not with pessimism but optimism, about the bracing changes transforming American operatic life today. --John Rockwell, former arts critic of The New York Times and founding director of the Lincoln Center Festival Drawing on extensive research and reporting . . . Waleson's in-depth study illustrates the challenges City Opera--and other opera houses--face in the 21st century as they seek to preserve tradition and innovate. --Publisher's Weekly A thorough recounting of the tumultuous history of the New York City Opera [and] a cleareyed examination of the economic fragility of cultural institutions. --Kirkus Reviews Illuminating . . . engrossing . . . will be of extraordinary interest to anyone invested in the future of the performing arts. --Library Journal (starred review)