Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
Though the novel’s structure and texture are often compared to musical forms such as Wagnerian music-drama, who would attempt to turn Proust’s A la Recherche de Temps Perdu into opera?
There was a moment during Natalie Dessay’s performance of Schubert’s “Gretchen am Spinnrade” when the singer summoned the ghost of her former self.
Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.
Sandrine Piau‘s lovely recital with pianist Susan Manoff at The Philadelphia Chamber Music Society on February 14 entered around the themes of sleep, dreams and waking.
If you’ve been following the coverage of the Nézet-Séguin succession, you will note that a good deal of the coverage centers on whether the incoming maestro will “champion” this composer or that.
Anna Moffo made some of the most entrancing records ever. Their appeal is to “voice fanciers.” (I understand. We’re a despised group.) But Moffo’s best work renders us helpless.
Edgar Allan Poe’s The Fall of the House of Usher is heavy on macabre atmosphere and light on action.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
Tonight’s program at the New York Philharmonic, Arthur Honegger’s massive oratorio dramatique Jeanne d’Arc au Bûcher, has been an occasional visitor to the orchestra’s repertoire starting with the performance conducted by Charles Munch in January of 1948.
Our Own Jungfer Marianne Leitmetzerin presents Natalie Dessay in recital.
Midway through the first portion of this past Wednesday’s New York City recital debut of Mme. Natalie Dessay I became very distracted by the persistent urge to try to characterize the experience of what was happening on stage, for this was, by no means, an ordinary recital and no ordinary debutante.
This DVD
of a Diana Damrau recital (accompanied only by the harpist Xavier de Maistre) is sure to please her legions of fans.
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
Manuel de Falla’s La Vida Breve makes its video debut with this release from C-Major which means there’s still plenty of opportunities for improvement.
New York City Opera Education and the Schomberg Center for Research in Black Culture presented an evening of discussion, poetry and music from Scott Joplin’s opera, Treemonisha last night to an overflow crowd.
Simpler can be better, as Pocket Opera of New York demonstrated in the back of the Bechstein Showroom on Wednesday evening for their double bill of Ravel’s L’enfant et les sortilèges and Debussy’s La chute de la maison Usher. When I heard these operas would be presented in English with piano accompaniment, I was initially…
According to Mary Garden’s autobiography, Claude Debussy first encountered the Scottish-born diva at the Opéra Comique. After rehearsing her at the piano in a few scenes from his newly completed opera, Debussy said to Garden: “To think that you had to come from the cold far North to create my Mélisande.” He then turned to…
Some things, like hearing an evening of chamber music on a barge in the East River, sound better on paper than they actually are. And some things work exactly the opposite way: for example, the composer David del Tredici. Bargemusic presented soprano Courtenay Budd in a program of two song cycles from the 1990s by…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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