American Bach brings out the operatic side of Bach in a program featuring sparkling vocal talents.
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
Jakub Józef Orlinski‘s “Stille amare” packed a lot of punch in terms of dramatic intensity.
In recent weeks local and visiting groups performed refreshing rarities by Zelenka, Domenico Scarlatti and Telemann so engagingly that one didn’t miss the old standbys at all.
The Paris Opera continued their 350th anniversary celebration January 26 with a brand new production of Alessandro Scarlatti’s 1707 oratorio Il Primo Omicidio ovvero Caino.
“Trove Thursday” offers a recent broadcast of one of his best-known but rarely performed operas, Il Mitridate Eupatore.
American mezzo Jamie Barton, who has steadily been winning fans in the US over the past few years for her rich and nuanced singing, took the international opera world by storm last weekend by winning both the Song Prize as well as the overall prize in the BBC Cardiff Singer of the World competition.
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.
Handel’s Orlando is one of three operas Handel based on episodes from Ariosto’s best-selling sixteenth-century epic, Orlando Furioso. The story was, in 1733, well known throughout the Mediterranean world, and everyone set it to music—Vivaldi’s and Haydn’s settings have enjoyed recent revivals, and the libretto Handel set had originally been devised for Domenico Scarlatti. Intricate…
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