Beneath the pageantry, the paeans to German art and the self-referential allusions to the creative process, Die Meistersinger is a story about a community and human qualities like love, friendship, envy and hatred. One can get absorbed in Wagner’s multilayered portrait of medieval Protestant life or just connect with the straightforward narrative about two young lovers and the older man trying to help them. Read more »
The crossover album: a hint that that an artist has either exhausted all the repertory at her command and owes her record label a new release or that her waning vocal resources really shouldn’t be taxed much further than an octave. I’m sure we all have our favorite party discs of beloved divas slumming Broadway, Tin Pan Alley, or worse. Read more »
I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city. But in the spring of 2102 after an absence of over 13 years, she presented a rapturously received recital of Italian songs at Alice Tully Hall. Wasting no time, Lincoln Center invited her to bring her one-woman performance piece Era la notte to this year’s White Light Festival which presented the US premiere Wednesday evening at the Rose Theater. Conceived and directed by Juliette Deschamps, it featured Antonacci performing four challenging monologues by early-to-mid-17th century Italian composers accompanied by seven members of the French period orchestra Les Siécles. Read more »
The curious things about accepted wisdom is that sometimes it’s correct.
Say what you will about Naxos, but this company has created a sizeable number of recordings of works on the periphery of the standard repertory and have managed to document quite a few interesting singers in the bargain-and at bargain prices.
Vanity project or not, these albums present a sensitive and talented artist showing off two little-seen sides of himself.
Marek Janowski’s second recorded Ring cycle began on an off note, with a Rheingold that was fleet and lucid but failed to impress in the important musical moments.
The 19th century could not cope with Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School for Lovers) with a libretto by Lorenzo da Ponte and music by Mozart, first presented in Vienna in 1790.