Ahead of his new production of Die Frau ohne Schatten, Barrie Kosky chats with Kevin Ng in Aix about pretty much everything — except the details of his new Frau.
Even if our monolingual American tourists can be the source of vexation for many a Parisian, our singers gave much for the city’s operagoers to admire this month in stylish productions of Semele at the Théâtre des Champs-Élysées and I Puritani at the Opéra Bastille.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
Trove Thursday celebrates Pride with a Bible-based homoerotic sort-of opera not by the guy who wrote “Depuis le jour”: Charpentier’s David et Jonathas with Mark Padmore, Laurent Naouri and Jaël Azzaretti led by Emmanuelle Haïm.
What does the opera singer of the future look like?
The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
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.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
French conductor Emmanuelle Haïm debuted with the Philadelphia Orchestra this weekend, leading performances of Handel and Purcell.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
Scheming Anne-Sofie von Otter offs her brother and sons before the opera even begins? You bet!
At what moment does a “rising star” become simply a “star”?
Almost exactly twenty years after her auspicious Metropolitan Opera debut as the Fiakermilli in Arabella and a year following what she has claims was her final appearance on the operatic stage, Natalie Dessay returned Sunday afternoon to Lincoln Center—to sing opera.
I can think of no other case that resembles Handel’s complex relationship to the story—derived from Ovid’s Metamorphoses—of the ill-fated love between the shepherd Acis and the sea nymph Galatea.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
Natalie Dessay coyly bares a breast on the cover of Virgin Classics’ new Giulio Cesare.
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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