Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
I watched the finals for this year’s George and Nora London Foundation competition and would like to offer, if not a traditional review, a brief roundup of who I found exceptionally watchable and whom I think you, dear parterre boxers, should watch out for in the next few years.
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
This is likely the best Giargiari Bel Canto competition year in my experience, evidenced in several important ways.
There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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