This week’s “Trove Thursday” offers Benjamin Britten’s Death in Venice featuring Anthony Rolfe Johnson.
It’s a pity that Francis Poulenc took so long to getting around to compose his operas.
Benjamin Britten’s War Requiem with Anna Netrebko, Ian Bostrdge, and Thomas Hampson in an incredibly moving performance from the 2013 Salzburger Festspiele.
The best part of Paul Appleby’s recital for the Philadelphia Chamber Society came in his last two groups.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
“What fools these mortals be!”
You don’t often hear the grand operas of Benjamin Britten on smaller stages.
In a striking program at Carnegie Hall last night, the Orchestra of St. Luke’s), with guest vocalist Susan Graham, brought together a wide array of musical proclivities—good and good bad taste alike.
LoftOpera gives performances of exceptional musical and theatrical polish in offbeat corners of Brooklyn.
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.
The Rape of Lucretia, now (through Sunday) enjoying a superb three-performance run at the Juilliard Opera’s Willson Theater (tickets are scarce; hie thee to the waiting list), was Benjamin Britten’s third opera and first “chamber opera,” composed for the tiny original theater at Glyndebourne,
My memory is fading but the events I recall most vividly of the last season seem largely to have been concert performances.
There was wonder and magic last night in Philly when The Philadelphia Chamber Music Society presented British tenor Mark Padmore and American pianist Jonathan Biss in a recital devoted to the songs of Schumann, Tippett, and Fauré.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
Benjamin Britten’s final opera Death in Venice, based on Thomas Mann’s 1912 novella, is given a lush and quite beautiful production from stage director Deborah Warner for the English National Opera.
The sea, the sky, the wind, the storms that are so frequently depicted in the music of Benjamin Britten are brilliantly illuminated in the new DVD of Peter Grimes on Aldeburgh Beach, a collaboration between Aldeburgh Music, film director Margaret Williams, and stage director Tim Albery.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
I am grateful to Sony for this new release
of the Metropolitan Opera’s latest production of Parsifal and I hope I’m not the only one who discovers what a rich experience this opera can be because of it.
When Winston Churchill was First Sea Lord, the story goes, an indignant admiral accused him of violating British naval tradition, to which Churchill replied that the only traditions of the British Navy were rum, sodomy and the lash.
Mr. Ian Rosenblatt is a London solicitor and patron of charitable causes in Britain primarily focused on classical music.
I never thought I’d see the day when Giuseppe Verdi and Benjamin Britten would battle it out for musical superiority but that’s exactly what happened in Los Angeles this year.
Ambiguity. That’s the theme of the operas of Benjamin Britten (ennobled as Baron Britten of Aldeburgh).
In any narrative, the unmentioned—the unmentionable—will always be more alarming than that which is carefully described.
You can see the logic of it: The Juilliard School wants to show off its opera program, the Ellen and James S. Marcus Institute for Vocal Arts, which is (on the evidence) brim-full of talent.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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