Grand Tier Grab Bag this week honors the late Limmie Pulliam with a bit of his Verdi Requiem.
Don’t expect any sweeping statements from Franz Welser-Möst ‘s polished, if dramatically inert, Fidelio.
Franz Welser-Möst leads a rigorous, if emotionally staid, performance of Verdi‘s Requiem at Carnegie Hall.
Cameron Kelsall reports on a transcendent Jenufa from the Cleveland Orchestra
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
What happens when you attend a performance and it doesn’t engage you?
Gianandrea Noseda leads seasoned Wagnerians in Andreas Homoki’s stark production of Die Walküre for Zurich Opera.
Following classic recordings documenting the work of Karl Böhm and Herbert von Karajan. Orfeo’s 150 Years Wiener Staatsoper box moves on to new releases that are seeing their first incarnation on an officially available disc.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
The conclusion of our Fanciulla del West video overview in three parts looks at a trio of performances from the 2010s.
The old adage “the third time’s the charm” proved to be the case with me and Daphne, Richard Strauss’s ravishing bukolische Tragödie, when I recently heard it performed by Franz Welser-Möst and the Cleveland Orchestra.
One of the greats of classical music, Franz Joseph Haydn was a bit of an “also-ran” as an opera composer.
We leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs.
A woman reads from the Bible. There is a dance scene in a tavern. The discovery of blood gives away the protagonist.
Two years before she brought the role to Wiener Staatsoper in a production somewhat dominated by Jonas Kaufmann, soprano Nina Stemme sang her first-ever Minnie in La fanciulla del West at Stockholm’s Royal Opera.
What gets me, La Cieca snaps, is not so much that Levine bit off more than he could chew, because that’s old news.
Richard Strauss’s many one-act operas make excellent concert programs, both for their length (usually under two hours) and the primary place each gives the orchestration, a specialty where Strauss’s brilliance seldom deserted him.
No surprises this week: back to normal with what is perhaps the world’s most favorite opera: Puccini’s La bohème.
I think the sturdier of you will enjoy Nina Stemme’s Elektra from Saturday night at Wiener Staatsoper.
The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.
The Cleveland Orchestra’s premiere performance of Janacek’s Cunning Little Vixen proved to be both a critical and audience success.
We were not at Carnegie Hall to hear superb opera singers bestow their vocalism upon Alban Berg’s Wozzeck; we are there to hear the Wiener Staatsoper’s house band work their magic upon an intricate, spooky, devastating score.
The last of the Strauss-Hofmannsthal collaborations, Arabella, is a real problem child.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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