Dmitri Tcherniakov‘s production of Der Freischütz in Munich may fire a few blanks, but the musicians are all on target.
Dull conducting makes Der Freischütz miss its mark at Carnegie Hall.
Perhaps a piece of Mahler’s? For Wagner Month, Chris’s Cache offers the unexpected collaboration Die drei Pintos, started by Wagner-predecessor Carl Maria von Weber and completed by one of Wagner’s followers, Gustav Mahler
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
Franz Liszt attempted practically every musical genre in vogue in the nineteenth century, although it is undeniable that a handful of the genres he only sampled (like string quartet) or adapted to his own temperament in original ways (like the symphony).
This tenor must be the finest classical singer in the world today.
Director R.B. Schlather deftly walks a porous boundary, casting this primordial paroxysm of Germanness as a dialogue between its naïve and moralistic narrative with its outsized legacy.
Why is so twinkling, tuneful a score so little known?
Turandot finally arrives on Trove Thursday, but it’s the setting by Ferruccio Busoni which predates by a decade the one by that other Italian guy, and it’s paired today with Arlecchino, the composer’s other commedia dell’arte-influenced short opera.
Although Gustav Mahler never wrote an opera, his colossal Eighth Symphony “The Symphony of a Thousand” may give us some glimpses of what a Mahler opera might have sounded like
Siegfried is, in a sense, The Ring’s odd one out.
There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.
Flotow’s Martha, a work of 1847 that was popular around the world for a hundred years.
Bard College presented a semi-staged concert of Halka on Saturday evening as part of its impressively wide-ranging two-week “Chopin and his World” festival.
Diana Damrau has chosen for her new Erato recital disc Grand Opera 11 high-flying showpieces from ten operas by Giacomo Meyerbeer.
Due to a small hiccup in scheduling at Casa della Cieca, this week you get two uploads!
“Trove Thursday” continues its mini Shakespeare festival with a delightful performance by the New York City Opera of Die Lüstigen Weiber von Windsor.
“Disciplined and intelligent.”
I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?
To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.
An impresario with a hit on his hands—Emanuel Schikaneder, for instance, after the initial run of Die Zauberflöte—will crave nothing so much as an opportunity to hit the same bell.
Between Fidelio and Der Freischutz there was “Romantische Oper,” a type of musical drama descended from medieval mystery plays in which ghosts, gnomes and other “invisibles” get entangled in the lives of unsuspecting people.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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