Brendan Latimer hitches a ride with members of the “site-responsive opera” movement who are taking their shows out of the opera house — and out of the box.
The operatic offerings of Boston Early Music Festival — Keiser‘s Octavia and Telemann‘s Pimpinone and Ino — are delectable discoveries
This week, Chris’s Cache highlights Bernarda Fink and Inga Kalna in an opera by Johann Gottlieb Naumann
On Tuesday night, in the commodious concert hall of the Morgan Library, the Boston Early Music Festival forces brought Georg Philipp Telemann’s Don Quichotte auf der Hochzeit des Comacho to New York.
Since my previous CD round-up review the onslaught of solo recital disks of 18th century (and sometimes also 17th) vocal music has continued unabated.
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.
By an astounding coincidence, on Monday night Handel’s third and fourth extant operas were being performed simultaneously across the street from each other at Lincoln Center.
In recent weeks local and visiting groups performed refreshing rarities by Zelenka, Domenico Scarlatti and Telemann so engagingly that one didn’t miss the old standbys at all.
A rollicking performance of his delightful comic opera Der geduldige Sokrates featuring a fine cast and the magnificent Akademie für Alte Musik conducted by René Jacobs.
An unstaged performance of Juditha Triumphans by five soloists and the Venice Baroque Orchestra under Andrea Marcon.
Fans of divas who sing 19th and 20th century opera may find themselves searching in vain for CDs to buy with this season’s gift cards, since their idols so rarely put out solo recitals these days.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
The chicken or the egg?
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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