Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
It would be difficult to find a better description for Ambroise Thomas’s newly-recovered Psyché, recently heard in a new recording from Palazzetto Bru Zane, than the one uttered by her suitors: “Charmante Psyché!”
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
Earlier this month the opera world was stunned to learn of the death of Belgian soprano Jodie Devos who died of breast cancer at just 35, and Chris’s Cache remembers her with a broadcast from last November of Devos as Ophélie in Hamlet, her only US appearance.
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
C-major has made available the first DVD/Blu-ray of Franco Faccio’s Amleto.
In March 1973, OONY’s second season featured Francesca da Rimini starring Raina Kabaivanska, Plácido Domingo and Matteo Manuguerra.
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.
I have to confess that I overheard that line during the intermission of the Met’s new production of Amboise Thomas’s seldom-performed Hamlet based on Shakespeare’s oft-performed play. I couldn’t have said it better myself.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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