Thus let few thanks be paid
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
29 pieces since 2006 — in 8 roles, at 7 companies, most often at Les Arts Florissants.
Kudos to Opera Philadelphia for programming Handel’s Semele in its exceptionally interesting and wide-ranging Festival 2019; unfortunately, despite an extraordinary cast, James Darrah’s drably dull production doomed it.
There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
This summer’s festival, taking place amid record high temperatures and in the wake of its artistic director, Pierre Audi, featured a disquietingly zeigeisty focus on sexual violence.
We may all be armchair Handelians, but some of us are more used to it than others.
Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
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