Opera Baltimore concludes its season with a piercing semi-staged production of Pelléas et Mélisande.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
This task feels near impossible, as I listen to a LOT of art song singers on repeat, across decades and continents (from piano to orchestral works) — mostly for pleasure, but also for study.
An invigorating double bill at the San Francisco Symphony challenges how Bach “should” be performed.
Under the baton of Nicholas McGegan, Philharmonia Baroque Orchestra & Chorale proves they have a magic touch in a program of Rameau and Handel.
Esa-Pekka Salonen and The Los Angeles Philharmonic serve a feast for all five senses.
In recital for the Los Angeles Opera, tenor Ben Bliss makes the case for the next stage of his career.
A consideration of Anika Kildegaard’s extraordinary recital in Philadelphia—and the oddity of recitals themselves.
Christof Loy‘s Louise in Aix-en-Provence scratches at the urban– and operatic– unconscious
Pénélope at the Bayerische Staatsoper’s summer festival spotlights the crossroads between the nostalgic and the progressive.
A new production of Dialogues des Carmélites featuring Anna Caterina Antonacci proves that it’s hard to be an iconoclast in Venice.
Arnold Schoenberg’s Gurrelieder and Giacomo Puccini’s Turandot are, in their different ways, the final decadent flowering of a musical tradition at its twilight.
My sole live encounter with Seiji Ozawa coincided with his final appearances at the Metropolitan Opera, where he conducted its 2008 revival of Tchaikovsky’s Pikovaya Dama.
This was by far my most satisfying experience with Pelléas et Mélisande for a multitude of reasons and I encourage anyone who’s even mildly curious to find their way to the Music Center for a very rich experience.
In a lovingly curated program of art songs, Ying Fang and the pianist Myra Huang presented pieces hailing from four different national traditions.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Everything’s coming up mélodie! As the pandemic rages on and new lockdowns have thrown large-scale performances into disarray, record labels have been releasing new albums of French art song by the bucketload.
“Who knows what evil lurks in the hearts of men?” went the introduction to the 1940s radio program The Shadow, an apt description for the San Francisco Opera’s production of Rusalka.
Christian Thielemann is widely regarded as our time’s preeminent master of the Austro-German symphonic ensemble.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Anna Netrebko sang throughout with a palpable sense of joy and ease in vocal production, never a hint of strain or any moment forced.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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