Washington Concert Opera began its 39th season last month with Christoph Willibald Gluck’s late masterpiece Iphigénie en Tauride.
Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Back to Rameau again this week with Samson at the Opéra Comique, my third Rameau production in as little as three months, after Les Fêtes d’Hébé in the same house, and Castor et Pollux at the Palais Garnier.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Starring Jamie Barton, Orfeo ed Euridice returns to the Met next month for the first time in more than a decade so “Trove Thursday” offers two complete live versions of Gluck’s masterwork.
The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
The Hänsel und Gretel discussions over the holidays plunged me down a YouTube rabbit hole.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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