Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Ahead of their opening in Don Carlo in Dallas tonight, Christopher Corwin chats with Nicole Car and Étienne Dupuis — and offers a special edition of Chris’s Cache!
Sir Simon Rattle and the Bavarian Radio Symphony Orchestra strike (almost) all the right notes in their new recording of Mozart’s Idomeneo.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
This review attempts to capture my ecstatic reactions to Contra-Tenor, one of the greatest recordings I’ve ever heard.
We watch Peter Grimes being made into a deviant— a process that can take place through the mechanism of the law, but often happens outside of it through social processes.
Trove Thursday previews next week’s BBC Proms presentation of Elgar’s The Dream of Gerontius with a 2008 broadcast conducted by Colin Davis with Sarah Connolly, Ben Heppner and Gerald Finley.
Since April four wildly varied incarnations of Hamlet have been haunting New York City theaters; the most recent to arrive was Robert Icke’s chicly contemporary take on Shakespeare’s play which opened last week at the Park Avenue Armory.
It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
Later this month Asmik Grigorian will star in Covent Garden’s new Jenufa, which Trove Thursday anticipates presenting the acclaimed Lithuanian soprano in a broadcast from 2014 of Tchaikovsky’s rare opera The Enchantress (Charodeyka).
Rosa Feola immediately established with her first group that she’s a serious artist who brought to the concert format both a warmly appealing coppery soprano as well as detailed and savvy dramatic instincts.
Here’s a quick sprint through some recent (and a few maybe not-so-very-recent) Handel CDs that have been stacking up.
George Benjamin’s 2012 opera Written on Skin received great acclaim at its opening at the Festival d’Aix-en-Provence, and the Royal Opera quickly mounted it in March 2013.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
The ENO was filled with ghosts last week. Spectral, possibly illusory figures fleetingly materialized in the Internet chatrooms that provide the setting for much of Nico Muhly’s new opera Two Boys, and brutal boarding school memories came back to troubled life in director Christopher Alden’s dark take on Benjamin Britten’s A Midsummer Night’s Dream.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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