Vivaldi claimed he had composed 94 operas… or thereabouts. The music of fewer than 20 has been discovered, and few of those are ever staged, though that number, of course, is growing. Juditha Triumphans, however, may not even count as an opera, as it was composed to a Latin text for performance in a church rather than a theater, probably during Lent, 1717, which conveniently makes these performances its 300th anniversary. In Catholic lands, before the French Revolution, theatrical spectacles were out of the question during the penitential season, so this would have been a concert performance—no sets, no costumes, no intrusive ballet. Read more »
In honor of the Amazing Grace’s 80th birthday, a repeat performance from Unnatural Acts of Opera of her duo concert with Shirley Verrett at Carnegie Hall from January 31, 1982. Read more »
I can scarcely remember a performance where so many conflicting thoughts raced through my mind as happened Thursday night during the Met Orchestra’s “bleeding chunks” of Wagner’s Ring at Carnegie Hall. On one hand, superb Wagnerians Christine Goerke and Stefan Vinke soared through duets and solos from Siegfried and Götterdammerung magnificently supported by the sterling orchestra, but the complicated subtext prevented me from entirely enjoying the evening. Read more »
In a striking program at Carnegie Hall last night, the Orchestra of St. Luke’s), with guest vocalist Susan Graham, brought together a wide array of musical proclivities—good and good bad taste alike.
“Finally, Ms. Fleming reveals a completely different side of her artistry: her life-long passion for jazz…”
La Cieca thought the cher public might like to share some of their favorite Elektra videos and anecdotes.
Mr. Peabody, that Leonardo among canines, claimed she was suffering from toothache.
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.
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.