The fact that Barbara Hannigan has never performed at The Metropolitan Opera is just plain dumb.
Barbara Hannigan mesmerizes as both a brilliant vocalist and a proficient opera conductor in a double bill of Strauss and La voix humaine with the New York Philharmonic.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
My contention here is more general than just a critique of an opera, a composer, or a singer. I argue that one cannot be a truly legendary artist unless one sings NEW MUSIC.
In Munich, performances by 97-year-old Herbert Blomstedt and 32-year-old Thomas Guggeis show the city’s orchestral ensembles at their best
Last Thursday evening, pure virtuosity was on display at the Veterans’ Room of the Park Avenue Armory, courtesy of soprano Barbara Hannigan and pianist Bertrand Chamayou.
Pelléas and Mélisande are not transparent to themselves. Which means: they each have an unconscious.
Although primarily known as a vanguard of the Downtown music scene, John Zorn’s artistic and intellectual ethos is at home at the decidedly Uptown institution of Columbia University.
Davóne Tines has sung with Early Music groups and avant-garde ones, and he has a taste for projects that cross artistic boundaries, which suits an innate showmanship.
At the Park Avenue Armory, Barbara Hannigan chose to sing works that tested her metal in odd corners of vocalism.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
Why do we go to the opera? Because the world needs a reminder of the power of forgiveness, particularly in these dark and gloomy times!
There was a lot expectation about the new opera by George Benjamin and Martin Crimp. Their previous collaboration, Written on Skin, was an enormous critical and public success, earning the work a place in the exclusive club of 21th century classics with selected works by Saariaho, Heggie and Birtwistle.
Could Barbara Hannigan be Joni Mitchell’s classical counterpart?
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.
Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry. After several hearings, I’m still not convinced that there is an operatic version of Earnest.…
Paris can be a lot to handle, but this week it was a lot to Handel.
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.
It took about 30 minutes for me to grow restless watching the world premiere video of Gyorgi Ligeti’s Le Grand Macabre from Gran Teatre del Liceu.
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.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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