Un ballo in maschera—but instead of a tragedy, an opera buffa—and in Danish?
Over the past two decades, the understatedly beguiling Sasha Cooke has inched chronologically inwards in her subtle conquest of swathes of mezzo concert repertoire.
“How far should we give way to grief? How far dare we, without disaster?”
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
I was overjoyed by the coincidence that Santa Fe Chamber Music Festival would be presenting Façade.
Usually the longer I know a work the more I look forward to rediscovering it, but that’s just not the case with the Verdi Requiem.
I was extraordinarily happy Monday evening to encounter Angel Blue and Russell Thomas as Mimi and Rodolfo.
Skirting the leafy, patrician Berkshires of Western Mass, and flush with wine coolers and white people, pastoral Tanglewood doesn’t much resemble the dark Nibelung settings of Norse myth.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
Leos Janacek composed Adventures of Vixen Sharp-Ears, with its singing forest creatures of many species, in 1922-23.
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Ambiguity. That’s the theme of the operas of Benjamin Britten (ennobled as Baron Britten of Aldeburgh).
Let’s start with some refreshing news: Poèmes is the finest thing Renée Fleming has recorded in many a season.
I had every reason to think I’d love the New York Phil’s production of The Cunning Little Vixen as much as I did their staging of Le Grand Macabre with the same creative team.
Look, this is a very special piece of music for me. You were twenty once, right? You were self-righteous. You had your musical heroes, and your mind was being remolded every fifteen minutes or so by a rapid succession of new experiences that challenged your notions of what music could do.
When invited to participate in a discourse on artistic standards (hello, internet!), it’s easy — pleasurable, even — for an aesthete to bray about “the fall.” Where are the true heldentenors? Your kingdom for a Callas! (Or a Stratas, or a Rysanek!) And might the public, at long last, deserve a stable of directors who…
Our new correspondent Miss Laura Hope Cruisey finishes her report from Santa Fe. Everywhere we look there is Nicole Cabell – so exotic! Wow! Very interesting looking woman; and her new arias CD is the most advertised classical record around, and it is getting good reviews. She was kind of a Mrs. Obama on stage…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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