Despite some complications, the Deutsche Oper exhumes buried treasure in Franz Schreker’s Der Schatzgräber.
A pairing of rarities makes for an inspired evening with the Brooklyn Art Song Society.
Peter Sellars‘s triple bill of Viennese modernism featuring Erwartung and a concert performance of The Raft of the Medusa stare down death at the Salzburg Festival
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
Chris’s Cache highlights the erstwhile Chicago Symphony Orchestra @ Carnegie series with not one but two starry operas conducted by Georg Solti: Salome with Birgit Nilsson and a performance of Moses und Aron
Are Beethoven’s symphonies overplayed? Yes, but for a reason. While this justification may sound cliché, Beethoven’s humanist universalism is a sentiment that feels urgent in an era of widespread polarization and pessimism.
There are two problems to address – problems of the sort the arts thrive on addressing.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
Bay Area audiences starved for vocal fare during its opera’s winter/spring hiatus recently experienced two exceptional concerts with distinguished singing at the Davies Symphony Hall.
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
One of the first things James Conlon did when he took over the reins as Music Director of LA Opera was create the “Recovered Voices” project, producing operas that had been suppressed by the Nazis.
Emily D’Angelo, in a moment of subversion, sang the entire program wearing casual trousers, a vest, and chunky combat boots, her cropped hair slightly mussed, and wearing only light make-up.
Today’s listener has heard the scores of the classic Westerns that borrowed from Puccini (and Wagner!) to create the sound of the myth of the West.
All in all, Mahler’s ethereal evocation of the natural world, and the world beyond our own, is becoming old hat.
Yannick Nézet-Séguin and the Metropolitan Opera Orchestra reigned supreme at the opening night of Wozzeck on Friday evening, rendering every snarl and shimmer of Berg’s score with gripping intensity.
At the Park Avenue Armory, Barbara Hannigan chose to sing works that tested her metal in odd corners of vocalism.
Could Barbara Hannigan be Joni Mitchell’s classical counterpart?
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.
The creation of Kurt Weill’s The Eternal Road and its lately remodeled avatar, The Road of Promise, boiled down and premiered at Carnegie Hall Wednesday night by the Collegiate Chorale and the Orchestra of St. Luke’s, was an intricate process, far more interesting than the work itself.
With orchestral and choral forces that could outnumber a small European village, Arnold Schoenberg’s Gurre-Lieder is a composition designed to overwhelm.
Say this about Oedipus: The character’s got staying power.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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