Eli Jacobson
In the case of this summer’s resuscitation project at the Bard Summerscape Festival, Camille Saint-Saëns’ Henri VIII , it was quite evident that this is a dramatically sound work with consistently well-crafted, theatrically vital and attractive music that provides at least three roles for gifted singing actors.
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Pick a little, talk a little
Following the successful launch of the new regular feature The Talk of the Town in January, the team at the box is inviting contributions for a new quarter of operatic potpourri.
Teatro Nuovo took a spirited journey of rediscovery into the valley of forgotten operas and resurrected Federico and Luigi Ricci’s 1850 opera buffa Crispino e la Comare last Thursday at the Rose Theater at Jazz at Lincoln Center.
It was thrilling to see and hear Will Crutchfield’s insights come to life onstage in performance when Teatro Nuovo performed Poliuto at the Rose Theater at Jazz at Lincoln Center Wednesday July 19.
From Christian martyrs to naughty fairies, Teatro Nuovo will explore the tragic and comic sides of 19th century Italian Opera.
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
The wicked poisoner showed herself in fine form, full of purple passion and lusty music-making that would gladden the heart of any bel canto enthusiast or opera lover in general.
Old opera productions at the end of their performing life can be sad affairs.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
Angel Blue‘s refulgent, lush soprano blooms as Violetta’s vocal lines broaden and soar.
On paper, the Met’s revival of L’elisir d’amore looked like a lovely evening. And at times it was—a few scenes hinted at what it could be and what it might yet become.
The first time I heard of Ermonela Jaho it was as the ultimate understudy. In the aughts it seemed that every time Angela Gheorghiu or Anna Netrebko or whoever canceled, Jaho was standing by.
Show business fables often involve an ambitious, if naïve, ingenue (male or female) desperate for fame. This young wannabe finds fame and fortune: but it comes at a cost.
After putting a hiatus on their awards in 2020 and 2021 (for reasons that are all too well-known to all of us), the Richard Tucker Foundation Gala returned on Sunday evening November 13 honoring soprano Angel Blue the 2022 Award winner.
The revival of Don Carlo(s) which opened on November 3 restored the translated Italian text and the cut 1882 four-act revision not seen at the Met since Rudolf Bing’s last season in 1972.
The pandemic had different effects on different people.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.
Sondra Radvanovsky has an unconventional voice that is suited to unconventional characters and is best used in rangy, difficult music. The lack of lush beauty was no deficit in depicting Medea’s jealousy and vengeful rage.
The New York City Opera has become an elusive “now you see it, now you don’t” presence in the New York opera scene since the departure of main sponsor and chairman of the board Roy G. Niederhoffer in 2019.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
The elusive La dame blanche returned for one evening to New York City on May 28 thanks to the New Amsterdam Opera led by maestro Keith Chambers.
Pavarotti and Freni are gone but the Franco Zeffirelli Bohème remains.
Joyce DiDonato admits that she is “a problem solver, a dreamer, and—yes I’m a belligerent optimist.”
Nina Stemme’s Elektra always seemed the sanest individual onstage never quite giving over to obsession or hysteria with a good line in mordant sarcasm and contempt.
