Sometimes, as with last week’s upending election, history seems to jump to an entirely different, unimagined timeline. The individuals who cause these disruptive changes have been a fascination for Philip Glass, whose first three operas form the so-called “Portrait Trilogy” about visionaries who transformed their respective eras. Read more »
Philip Glass is indisputably one of the most prolific composers of the last half century, yet none of his more than 20 operas has found a place in the standard repertoire. Arguably, Akhnaten comes closest. 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.
What is an Orphic moment? A song so sweet that even Hades must release the dead back to the living? Is it a descent—the Greek Katabasis to the underworld—to commune with disembodied shades on the wall? Or is it the forbidden glance, the supreme, aesthetic joy of looking? Read more »
St. Paul’s Chapel is the perfect site for Saul, Handel’s finest dramatic oratorio.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
La Cieca predicts you won’t be seeing any puritans at the Met next season, except of course for the ones who slouch around during intermission hissing, “You call that a trill?”
“F. Paul Driscoll, editor of Opera News [not pictured], is optimistic.”