Ordinarily it might have been surprising to see Alice Tully Hall sold out on a Monday evening in December for Handel’s rare early oratorio La Resurrezione with young singers accompanied by a student orchestra. But, for many in New York and around the world, if the name William Christie appears on a concert or opera program, it’s a must-attend. So since the founding in 2009 of the period-instrument orchestra Juilliard 415 as part of that school’s Historical Performance program Christie’s annual visits to conduct it have become essential events. Read more »
Whenever opera-lovers are canvassed about what neglected operas they hunger to see revived, the resulting lists inevitably feature a goodly number of grand operas, those once wildly popular monstrosities–particularly by Meyerbeer–written primarily for Paris in the mid-19th century. Yet despite the enthusiasm of their advocates, these works have had a hard time regaining a place in the repertoire in the 21st century. Although a recent revival of Auber’s La Muette de Portici was well received at the Opéra-Comique in Paris, Covent Garden’s splashy new Robert le Diable by Meyerbeer flopped and the Met has never revived its 2003 production of Halévy’s La Juive. Read more »
Almost exactly twenty years after her auspicious Metropolitan Opera debut as the Fiakermilli in Arabella and a year following what she has claims was her final appearance on the operatic stage, Natalie Dessay returned Sunday afternoon to Lincoln Center—to sing opera. Read more »
Sunday afternoon’s intermittently involving concert performance of Handel’s Alcina at Carnegie Hall starred an unusually intense Joyce DiDonato as a powerful sorceress blinded by her romantic delusions.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
Wednesday brought the Met’s “real” season opener, an indelible, indispensable night at the opera: a starry revival of Verdi’s Macbeth crowned by Anna Netrebko’s demented Lady.
Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress.
In recent years the enterprising Dell’Arte Opera Ensemble has brightened the usually arid weeks of August in New York City with some worthy operatic showcases for young singers.