Seville bills itself as the “City of 150 operas,” and celebrated this fact at the Exposition of 1992 by erecting a magnificent new opera house, the Teatro de la Maestranza, right beside the Plaza de Toros. The seasons of the two theaters do not overlap. Next month, there will be a rare staging of an opera buffa by local boy Manuel Garcia, renowned for being the first to bring opera to New York, with his teenage daughter La Malibran. Read more »
Teatro Grattacielo, the sturdy little company that has presented Italian verismo rarities in concert for twenty-two years, always gives us something to ponder plus a couple of young singers we’re thrilled to encounter. The works themselves have varied, from once-popular antiques of faded, fragrant charm like Zazá, Iris and L’Oracolo to obscurities that seem impressively ready for a proper staging, like La Nave, Siberia and (you were waiting for it, weren’t you?) I Cavalieri d’Ekebù. Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
David Lang is, per The New Yorker, a “postminimalist enfant terrible,” best known for the Pulitzer Prize-winning little match girl passion. I am not familiar with his work, but the little match girl was extolled to me in the highest terms by a total stranger on the subway platform (Nevins Street) going home from the loser, and in New York there can be no more exalted gospel. Read more »
You may wonder what Rachmaninoff’s Aleko and Leoncavallo’s Pagliacci have in common.
You don’t often hear the grand operas of Benjamin Britten on smaller stages.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
The grand illusion is that we know it all. From four hundred years of opera, we’ve distilled the worthy survivors.
In how many operas does the heroine drink poison and then go lengthily mad?
The seventeenth-century works of Francisco Cavalli may be easier for modern audiences to accept.