Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
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.
The return of Cherubini‘s Medée to the Opéra Comique may be a homecoming, but Nigel Wilkinson almost went home at intermission.
“Let’s start at the very beginning” of Kent Nagano’s pioneering complete Ring project which was recently discussed here in depth in Montagu James’s review of Die Walküre.
Bergamo hosts an annual Donizetti festival, Salzburg presents a Mozart-woche every January, and of course there is Bayreuth for Wagner. But Handel gets two festivals every spring, and this year I was finally able to attend one of them.
Two short theatrical works and one sacred piece from the beguiling oeuvre of the guy who didn’t write Louise
To get right to the point, the performance did not come together despite some good elements and was a major missed opportunity.
No one who followed Trove Thursday will be surprised that Diva November on Chris’s Cache today features Ann Hallenberg and Sandrine Piau.
This month, both the Paris Opéra and the Opéra-Comique are mounting seminal works about unhinged anti-heroines who meet their downfall after falling head-over-heels for an unavailable, deeply unattainable man – Salome, in the case of the Opéra; and Armide, in the case of the Opéra-Comique.
The always elegant Véronique Gens has recently returned often to her earliest roots in the French baroque.
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.
The lovely English soprano Valerie Masterson turns 84 today, prompting Trove Thursday to present her in a pair of her specialties.
While seasonally-awkward streams of Messiah abound, Trove Thursday turns instead to Berlioz’s exquisite L’Enfance du Christ from francophone forces including Stéphanie d’ Oustrac, Bernard Richter, Edwin Crossley-Mercer and Nicolas Testé (for once, sans sa femme).
A recent discussion here about Gianna Rolandi prompts Trove Thursday to present the American soprano in a rare trouser role in an even rarer opera, Cimarosa’s Gli Orazi e I Curiazi paired with Anna Caterina Antonacci.
An acclaimed revival earlier this season of Sebastián Durón’s Coronis (that name, yikes!) reminded me that Trove Thursday has been ignoring baroque zarzuelas.
Last night should have seen my favorite of this season’s revivals but instead Trove Thursday must step up with Jean-Marie Leclair’s irresistibly captivating Scylla et Glaucus conducted by Christophe Rousset.
Although I usually pretend that I don’t have the diva-worship gene, sharp-eyed readers of parterre box will know that since I joined the site in 2011 as “DeCaffarrelli” I have often swooned as an Ann Hallenberg-fanboi.
Trove Thursday marks Mozart’s 264th birthday on Sunday with the 14-year-old’s remarkable opera seria Mitridate, Re di Ponto .
A brace of Handel operas at the George Enescu International Festival.
“Trove Thursday” offers Offenbach’s irreverent La Belle Hélène featuring the beauteous Véronique Gens.
Legrenzi married the quirky libretto to a score of transcendental beauty.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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