The San Francisco Opera is batting a thousand where young singers are concerned this season. There, see? A gesture of goodwill to local sports fans. Boy, the “Niners” really took a “beating” in “game two,” huh? Anyway, where were we? Read more »
It was a night a-tingle with excitement at the Metropolitan Opera House. At least part of this lay in never knowing when vocal protests might explode (verbally) somewhere in the auditorium.
There was wonder and magic Wednesday night in Philly when The Philadelphia Chamber Music Society presented British tenor Mark Padmore and American pianist Jonathan Biss in a recital devoted to the songs of Schumann, Tippett, and Fauré. Read more »
Gotham Chamber Opera, which began to operate twelve years ago with a double bill of Bohuslav Martinu’s quirky little pieces, opened its 2014-15 season with two more, Alexandre bis (Alexander, twice) and Comedy on the Bridge.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.
When Richard Wagner reached into the past and revised Gluck’s Iphigénie en Aulide, he went beyond the accepted boundaries of tinkering and more or less created a new work that’s fomented aesthetic debates ever since.
The big news out of the Bay this week, of course, is that David Gockley, after ten years at the helm here and over forty in opera, has decided not to pull a Bloomberg/Galupe-Borszkh.
Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,” La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while.