Zémire et Azor, André-Ernest-Modest Grétry‘s riff on “Beauty and the Beast”, gets a rare outing in the Berkshires.
Finding Britten’s The Rape of Lucretia on the Academy of Vocal Arts calendar was both a pleasure and something of a surprise—the latter because the work is far from central repertoire, even in a conservatory.
For Philadelphia opera lovers, October means the Giargiari Bel Canto Competition—a staple event for the Academy of Vocal Arts, and a pipeline for the public to discover some of their strongest resident artists.
Updating opera settings is, of course, expected; I’d wager in most houses more often than not it’s now the norm. Still, few in my experience have the specificity and local immediacy of Don Pasquale at the Academy of Vocal Arts.
There was something very Russian—indeed, Chekhovian—about the mix of joy and tears, as the Academy of Vocal Arts performed Tchaikovsky’s Eugene Onegin
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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