I vividly remember being scared to death as a child watching the Vincent Price horror film House of Wax on television. Perhaps because of that trauma I had avoided visiting any waxworks establishment until On Site Opera’s lively production of Rameau’s one-act Pygmalion summoned me Tuesday evening to Madame Tussauds just off New York City’s Times Square. Read more »
Even before Italian diva Mariella Devia had completed the stunning high D natural that capped her miraculous portrayal of Elisabetta in Donizetti’s Roberto Devereux Thursday evening at Carnegie Hall, tens, then hundreds of those in attendance leapt to their feet to shout their acclaim at the conclusion of the most recent example of that most quintessential event for many New York operagoers: the concert opera. Read more »
Joyce, Javier and now Julia—this week these three remarkable Js brought New York City memorable “Cinderella stories.” On Monday, one of opera’s reigning superstars returned to the Met shining in a Rossini role that suits her to a T alongside an exciting tenor having a thrilling breakout season. Just two nights later, Juilliard Opera presented Cendrillon, Massenet’s hauntingly different 1899 take on Perrault’s fairy tale, featuring the luminous young soprano Julia Bullock in the title role, a star-making performance instantly becoming one of the season’s must-see events. Read more »
The Met stage was filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.
What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor?
For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals.
My impossible wish would be to hear one of the great castrati who dominated opera for most of the 18th century.
Joined by the Choir of Trinity Wall Street, The English Concert concluded the US leg of its current tour at Carnegie Hall Sunday with a complete performance of the darkly moving Theodora, Handel’s penultimate oratorio.
While many performing arts organizations have been reducing their schedules or even closing, Opera Lafayette, a Washington DC-based group dedicated primarily to 17th and 18th century opera, has proven remarkably prosperous.