Cher Public

Crepuscolo

“Who is that!?” Scene-stealer Gianluca Buratto.

“It’s not easy being green”: especially if you’re the two greatest Italian opera composers. In their eighth decade Verdi and Monteverdi likely each thought they were done writing works for the stage but the gods had other plans.  Read more »

Black, box

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. While most commonly performed in concert halls or churches, this week the greatest of these, J. S. Bach’s setting of the gospeler Matthew’s retelling, opened this season’s White Light Festival in a grandly ambitious semi-staging by Peter Sellars at a strikingly transformed Park Avenue Armory.   Read more »

Get happy

Lincoln Center hosted two milestones this week: on Wednesday, The Juilliard School produced a gripping production of Handel’s Radamisto incorporating into an opera for the first time its much-heralded original-instrument orchestra Juilliard 415, while the following night saw choreographer Mark Morris’s radiant setting of Handel’s L’Allegro, il Penseroso ed il Moderato returning to celebrate its 25th anniversary as part of the White Light Festival.   Read more »

Appearing nightly

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.

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