Erin Morley, Lawrence Brownlee, and Malcolm Martineau put on a jolly good show at the 92nd Street Y.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
Samantha Hankey’s Composer is the standout in the Wiener Staatsoper’s episodically sublime Ariadne auf Naxos revival.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Buoyed by a strong cast, The Metropolitan Opera continues its autumn bel canto streak with a winning revival of Donizetti’s La fille du regiment.
Chris’s Cache offers Nadine Sierra and Xabier Anduaga, the stars of the upcoming production of La sonnambula, in a performance of another favorite bel canto opera
Wolf Trap Opera kicked off its summer season with an inventive production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro inspired by Pablo Picasso that showcased up-and-coming singers.
It began with charming modesty.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
Les Contes d’Hoffmann is something of a puzzle in which some of the pieces are missing and others been altered to fit since Offenbach died before he could complete and revise the work.
We may all be armchair Handelians, but some of us are more used to it than others.
Recent discussion about the merits of Le Prophète has prompted Chris’s Cache to unearth a pirate recording of Meyerbeer’s opera with Marilyn Horne, Rita Shane and Guy Chauvet led by Charles Mackerras, along with an earlier collaboration of the mezzo and conductor: Gluck’s Orfeo ed Euridice in which Horne goes to hell to get back Adriana Maliponte with the help of Judith Blegen.
Simon McBurney’s Die Zauberflöte, the second new production of the Met’s May Mozart Miracle, opened on Friday to rousing near-unanimous cheers.
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
Only three years separate the creation of The Most Happy Fella (1956) and The Sound of Music (1959), but there’s a proverbial ocean between these two Golden Age musicals are being performed at prestigious festivals this summer.
The winners of the evening were the composer Riccardo Zandonai and Teatro Grattacielo which pulled off a near-impossible feat with success.
The monsoon outside was no match for the torrents of gorgeous, dramatic singing and playing that was unleashed inside George Washington University’s Lisner Hall Sunday afternoon when Washington Concert Opera, in a glorious deluge of Léo Delibes, presented Lakmé to round out its return season.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
No, we don’t really need another “Orpheus” opera. Or, rather, we don’t need this one.
November in New York hosts two premieres dedicated to mythology’s greatest musician, which prompts Trove Thursday to present a vintage Monteverdi L’Orfeo with Judith Raskin and Gérard Souzay conducted by Leopold Stokowski (!) and a recent HIP London broadcast of Luigi Rossi’s L’Orfeo.
Trove Thursday previews Massenet’s Werther—due to return next month at the Met—with a 1984 Paris performance starring two marvelous protagonists, Tatiana Troyanos and Alain Vanzo.
Günther Groissböck’s ridiculously entertaining Baron Ochs and Sir Simon Rattle’s enthralling conducting soared highest during a mostly excellent revival of Der Rosenkavalier.
With the Philadelphia Orchestra’s Candide, they saved the best (of all possible worlds) for last.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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