Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
What is opera for if not to commemorate a national epic tragedy and triumph?
Fans of divas who sing 19th and 20th century opera may find themselves searching in vain for CDs to buy with this season’s gift cards, since their idols so rarely put out solo recitals these days.
Might Max Emanuel Cencic be the countertenor for people who hate countertenors?
Sometime in 1753, Frederick The Great of Prussia, following a tiff with his great friend Voltaire, began writing an opera libretto in French prose that was to elucidate his ideas about the role of an enlightened monarch.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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