Admit it:  the first time you heard that Los Angeles Opera had decided to pair the Baroque charms of Purcell’s Dido and Aeneas with the expressionistic horrors of Bartok’s Bluebeard’s Castle, you didn’t exactly say to yourself, “Oh yeah, that makes total sense.”  No, at best, you probably thought, “Hmmmm — that’d be interesting.”  If … Continue reading →