During a career as a playwright, and more intensively from 1988 on, Albert Innaurato worked as a music journalist and lecturer. He wrote frequently for the New York Times Arts and Leisure section on many topics from the Lament Tradition in Serious Music to considerations of harmonic procedures in newer music, to articles on less familiar operas such as Pfitzner’s Palestrina. From 1988 to 2001 he was a regular contributor to Opera News, analyzing familiar and less familiar operas, reviewing recordings including those of the earliest singers to record, to interviewing current stars. In that time he contributed articles to Gramophone, BBC Music Magazine, OpernWelt and a large number of now defunct Italian periodicals.
He adapted Puccini’s La rondine for Lincoln Center, lectured for the New York Philharmonic, The Lincoln Center Chamber Music Society and when in Los Angeles for the Los Angeles Philharmonic, for whom he did an extensive series on Mahler. He wrote articles on serious music for Vogue, Vanity Fair, New York and reviewed symphony, chamber music and opera for Newsday. Currently, he is a frequent contributor to parterre box.
For the Metropolitan Opera Guild produced by Paul Gruber, he recorded 20 tapes/CDs of opera from Carmen to Death in Venice, most with him at the piano. He also became a regular lecturer for the Guild and gave intermission talks from the piano when the Metropolitan Opera Saturday Broadcasts were underwritten by Texaco and produced by Richard Mohr.
Opera Philadelphia ended its season with Le Nozze di Figaro, Friday, and it will play May 3, 5, and 7—a matinee. Figaro is considered by most to be one of the few perfect operas and although it’s perhaps too easily encountered in routine run-throughs, there are usually rewards in seeing it.
Sandrine Piau‘s lovely recital with pianist Susan Manoff at The Philadelphia Chamber Music Society on February 14 entered around the themes of sleep, dreams and waking.