In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
The Richard Tucker Foundation Gala has always been a big annual celebration of the voice with an emphasis on big-voiced singers in big repertoire (not much Wagner usually, though…). Like so many reliable operatic institutions it has struggled for survival after the pandemic.
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
Following new productions of Tosca in 2017, Adriana Lecouvreur in 2018, and the Anna Netrebko-led Puccini orgy of 2019, New Year’s Eve at the Met has come to signify that verismo, as this school tends to be known, is still kicking.
Last Wednesday the 92nd Street Y presented the friendliest-ever episode of American Gladiators when Lawrence Brownlee and Michael Spyres continued their bel canto bromance with a delirious (almost) all-Rossini recital accompanied by Myra Huang.
I was greatly anticipating Karita Mattila’s recital on Friday in Toronto’s Koerner Hall.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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