Clémence de Grandval’s Mazeppa gets the superhero treatment in Dortmund.
A double bill of rare Bizet works in Paris is not something any of us needs to do more than once
When my editor suggested to me a round-up of my favorite recordings of Jacques Offenbach’s Les Contes d’Hoffmann I was très, très, intrigued.
Why did Ted Sperling and MasterVoices choose to perform an old warhorse like Carmen which has been produced almost continuously over decades just up the street at Lincoln Center?
The elusive La dame blanche returned for one evening to New York City on May 28 thanks to the New Amsterdam Opera led by maestro Keith Chambers.
L’Arlesiana in a vibrant live performance from a dozen years ago with Giuseppe Filianoti, Latonia Moore and Marianne Cornetti.
Too bad, then, that this season’s tossed flower was a bit of a wilted one.
No amount of scholarly diligence has kept Les contes d’Hoffmann from being the messiest of all standard-repertory messes.
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
I am happy to finally add Les contes d’Hoffmann to the playlist in a Salzburg performance from 2003 with Neil Shicoff in one of his parade roles.
On Saturday, a new company called Bare Opera gave its first performance, a double bill of Debussy’s L’Enfant Prodigue and Ravel’s L’enfant et les sortilèges, at the Robert Miller Gallery in Chelsea.
The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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