A favorite bass performance from Christopher Corwin
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
As we reach the end of “Bass Month” I’d like to call attention to the superb American Gregory Reinhart who particularly shone in music by Jean-Philippe Rameau.
Opera directors could learn a thing or two from Deaf Broadway’s vivacious performance of Jeanine Tesori‘s Violet.
The greatest bass performance I ever experienced was actually four – four performances in four roles.
Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
Lisette Oropesa, Piotr Buszewski, and Luca Salsi feature in a rote revival of Michael Mayer‘s cloying production of La traviata.
This performance was introduced to me by Norman Treigle’s granddaughter —very fine mezzo-soprano Emily Treigle; while I was preparing the role of Olin Blitch, and it completely changed my understanding of the character.
With Gustavo Dudamel in the spotlight at Parterre Box this week, Grand Tier Grab Bag foreshadows one of the New York Philharmonic’s upcoming operatic engagements.
El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
The Met in HD proved to be a major gateway drug for me, showing me my first Don Carlo in 2010.
In its first production since departing the Kennedy Center, the Washington National Opera presents a new adaptation of “King of Ragtime” Scott Joplin’s opera Treemonisha.
This bass aria “Sous les pieds d’une femme” from Gounod’s La Reine du Saba used to be a concert favorite
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Matthias Pintscher’s Nuit sans aube at the Opéra Comique conjures up plenty of atmosphere — but not much else.
Tancredi Pasero is so noble in mien and rich-voiced here, a perfect complement to Caniglia’s earthy Leonora who honestly charts the movement from despair to fervent, transcendent faith in this duet.
A sublime Reginald Mobley and the Philharmonia Baroque Orchestra are a balm for troubled times in a program of baroque selections and spirituals.
Washington Concert Opera returned to its roots with a delightful performance of Georges Bizet’s Les Pêcheurs de perles.
A David Lang premiere at the New York Philharmonic brings a wealth of musical delights — and bodes well for Gustavo Dudamel‘s leadership.
I don’t know if I’ll ever hear as great a performance as René Pape‘s Gurnemanz.
Golda Schultz and Jonathan Ware present Dark Matter(s), an intriguing program of songs, at the Philadelphia Chamber Music Society.
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