Aix tremendae, salva me
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Festival d’Aix-en-Provence confronts the living and the dead — and its own future — through audacious productions and an intimate world premiere.
Zany gags keep Zar und Zimmermann zipping along at the Deutsche Oper Berlin.
Mesdames et Messieurs, this summer’s broadcasts from the Festival d’Aix-en-Provence begin this weekend!
Roger Norrington conducted Rossini’s Semiramide in Pesaro ’94 and made the Orchestra part of the drama in a way I still have never heard duplicated in a Bel Canto opera.
One Italian soprano continues to save the day in bel canto roles at La Scala; this week Parterre Box features Marta Torbidoni.
Many years ago, when the Met was deciding who the next principal conductor/music director was going to be, it seemed to be a tie between YN-S and Fabio Luisi.
Pierre Monteux‘s career defies time.
One Italian soprano continues to save the day in bel canto roles at La Scala; this week Parterre Box features Marta Torbidoni.
Ambur Braid‘s biggest dramatic soprano assignment yet — the Dyer’s Wife in Aix — is occasion for Parterre Box to feature her in some of her old repertoire.
Grand Tier Grab Bag features the American Zwischenfach mezzo Irene Roberts ahead of an eclectic season of Wagner.
Parterre Box shines a light on Liparit Avetisyan, who made his Met debut as Alfredo earlier this spring.
Parterre Box features soprano Miina-Liisa Värelä, making her title role debut in Die Walküre in Munich next week, in a performance of Tristan und Isolde from 2021.
Grand Tier Grab Bag this week honors the late Limmie Pulliam with a bit of his Verdi Requiem.
A grandly sung revival of The Ballad of Baby Doe at Central City Opera mines poignance from America’s past and present.
Daniel Barenboim’s Tristan und Isolde is a performance I keep coming back to, again and again.
I first experienced the magic of Seiji Ozawa in 1972 when I was 12 years old.
Ambur Braid‘s biggest dramatic soprano assignment yet — the Dyer’s Wife in Aix — is occasion for Parterre Box to feature her in some of her old repertoire.
Fausto Cleva, in this glorious Fanciulla from the old Met, demonstrates all the great skills of opera conducting
I am once again going to laud the classic Rudolf Kempe commercial recording of Lohengrin (which I have lauded overall) for its conducting.
Roger Norrington conducted Rossini’s Semiramide in Pesaro ’94 and made the Orchestra part of the drama in a way I still have never heard duplicated in a Bel Canto opera.
Many years ago, when the Met was deciding who the next principal conductor/music director was going to be, it seemed to be a tie between YN-S and Fabio Luisi.
Pierre Monteux‘s career defies time.
Daniel Barenboim’s Tristan und Isolde is a performance I keep coming back to, again and again.
I first experienced the magic of Seiji Ozawa in 1972 when I was 12 years old.
A Pasolini-inspired Tosca at La Monnaie does not quite find the pleasure in the pain.
I think Patanè did far more than just hold it together: he did full honor to Verdi.
Opera conductors … my favorite subject!
Tobias Kratzer‘s new production in a live video broadcast from Munich
He has conducted some of my favorite opera recordings.
Although Ernest Ansermet is most often associated with orchestral music, his 1964 recording of Debussy’s Pelléas et Mélisande is still my favorite.
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