Leave it to the New York Times to present a hard-hitting, no-holds-barred debate on the explosive subject of race in the theater, with Anthony Tommasini and Ben Brantley boldly in agreement throughout.
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
Naming rights, Sunday performances, an extension of the Met’s lobby forward into Lincoln Center Plaza . . . Peter Gelb puts all that and more on the table. [New York Times]
“Few operas better represent a moment such as ours, when stability and long-held certainties are hard to come by, particularly in regard to sexuality.”
They were there, opera insiders said, because Chelsea Clinton is a friend of the tenor Vittorio Grigolo, who was playing the Chevalier, Manon’s true love.”
Longtime Friend of the Box Zachary Woolfe (left) climbs onto the masthead of the New York Times as their new classical music editor, starting Monday.
“The soup is hot; the soup is cold; Norman Lebrecht got it wrong again.”