Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Claus Guth mines urgent and contemporary commentary from Die Liebe der Danae in Munich.
This performance of Mahler’s Symphony N°8 at the Bozar in Brussels will probably be my last ever Mahler concert.
Verdi’s Falstaff is a brilliantly written opera: funny, with a complex ability to operate across minutely shifting registers of farce and lyricism. It needs, ideally, a production and cast capable of executing both comedy and drama, irony and sincerity—often concurrently. In its current Met revival, happily, Falstaff has everything it needs.
The Met’s recent Ariadne auf Naxos and Elektra combo left me wanting more and more Richard Strauss, so Trove Thursday offers a complete Capriccio with Jonas Kaufmann (his one-and-only Flamand) and Christopher Maltman vying for Soile Isokoski.
Christopher Maltman created a fun, coherent, often whimsical journey exploring the animal kingdom through a selection of animal songs.
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.
As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.
This week we get closer to completing the operas of Benjamin Britten with The Rape of Lucretia.
This week features Roger Norrington leading a December 2006 performance of Berlioz/ Enfance du Christ from Berlin
Anna Netrebko‘s Manon was deeply unforgettable for its wide scope, control, and incredible virtuosity.
The unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts.
Louis XVI, Marie-Antoinette, and a slew of their members of court are hanging out in the afterlife…
Is Manon Lescaut a cold, clinical tale of the splendors and pitfalls of transactional sex, or is it a romantic Italian opera at its most lush and melodic?
My first experience with John Corigliano’s music was in high school with the ear and mind blowing score he wrote for Ken Russell’s film Altered States.
Many American opera-lovers take the “Grand Tour”—a pilgrimage to Europe to attend opera at its great houses—Peter Grimes at the Royal Opera in London or Otello at La Scala in Milan, or perhaps for the more well-heeled a visit to the summer festivals of Glyndebourne, Salzburg or Aix-en-Provence.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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