Jake Heggie and Gene Scheer‘s bubbly The Judgement of Paris brings a distinctly Californian terroir to operatic comedy.
A new production of Die schweigsame Frau at the Berlin Staatsoper has precious little to say.
Boston Lyric Opera’s Revolutionary War-set Daughter of the Regiment prioritizes accessibility without losing its charm.
Opera Philadelphia’s Il viaggio a Reims in a nutshell: Hyperactive, confusing, and distracting from (and sometimes for) the singers? Yes. Imaginative, wildly entertaining, and musically rewarding? Absolutely.
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Handel’s biting Agrippina finally arrived at the Metropolitan Opera Thursday evening 310 years after its Venetian premiere.
It’s been a rough winter in Chicago, and an especially rough one for lead singers at Lyric Opera of Chicago
“Fricka is on fucking vacation.”
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Tancredi, given on February 10th, was a credit to Opera Philadelphia, who offered a well-considered and compelling production.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
Handel’s 1711 opera Rinaldo was the first Italian opera ever written specifically for the London stage.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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