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.
Wedlock, betrayal, sibling rivalry, feminism, and union strikes give the opera Morning Star much of its driving thematic material.
If Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score.
Poor Paisiello. Out of the nearly 100 operas written by this industrious composer just one was generally regarded as a masterpiece.
Baden-Baden 1927 is the title Gotham Chamber Opera has given to its evening of four brief operas that premiered together at a festival in, yes, Baden-Baden on July 17, 1927.
“Playthings of the Gods: Essential Myths,” the Vertical Player Repertory’s evening of Monteverdi, Britten and Milhaud, heard October 8, was a satisfying treat. The soloists were excellent, although the venue, Christ Church Cobble Hill, had overwhelmingly boomy acoustics and robbed the audience of any nuance in the voices.
John Corigliano‘s first and second symphonies won the Grawemeyer and the Pulitzer, respectively; the premiere of his Third Symphony wasn’t even reviewed by the Times. His score for The Red Violin won an Oscar™; his score for Edge of Darkness ended up on the cutting room floor. Is there an American composer at once more…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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