Baritone John Brancy smoothly traverses the American songbook at Carnegie Hall.
An impressively well-rounded revival of Francesca Zambello‘s production of Porgy and Bess concludes the Washington National Opera season
In Munich, performances by 97-year-old Herbert Blomstedt and 32-year-old Thomas Guggeis show the city’s orchestral ensembles at their best
Strike Up the Band! cried the brothers Gershwin (and book-writers George S. Kaufman and Morrie Ryskind) in the first of their three satirical, vaguely political operettas—sort of jazz Gilbert & Sullivan—that they dreamed up in the late 1920s.
June is long gone. It was truly a month of excellence and exuberance here in San Francisco, coupled with cozy and inviting weather, as if to make up for the extended winter.
How do you remember Oscar Levant?
Steve adored puzzles, solving them and creating them, so it makes you wonder that this one continued to fester—was that so few of his songs attained the rank of “standard.”
A particularly heartbreaking aspect of the pandemic shutdown has, of course, been helplessly watching rising artists have their careers plunged into indefinite silence. But for a few bold souls who are willing to try new things, the moment has also opened doors.
The New York Gilbert And Sullivan Players is giving its umpteenth production of The Mikado through next Sunday at the Kaye Playhouse, and the show remains frisky and first rate.
Erich Wolfgang Korngold’s Die Tote Stadt in a 1967 Vienna broadcast appropriately featuring three American stars: John Alexander, Marilyn Zschau, and George London.
Porgy and Bess, George Gershwin, Ira Gershwin and DuBose Heyward’s 1935 “folk” opera, graced the stage of Dutch National Opera for the first time last month, and it was resounding success from start to finish.
The most distinct pleasure of The Merry Widow at the Metropolitan Opera was the polished, yet warm, performance of Susan Graham as Hanna Glawari.
Bare Opera, the feisty little company that gave Debussy’s exquisite L’Enfant Prodigue in Chelsea last spring, is now operating in chic, rundown Bushwick where so many original enterprises sprout.
Harry Lawrence Freeman’s Voodoo, begun sometime before 1914, was completed and first heard on radio in May, 1928, then staged on Broadway later that year—seven years before Porgy and Bess, please note.
A new DVD of The Gershwins’ Porgy and Bess features an enjoyable live performance from the San Francisco Opera from June of 2009.
Sir Arthur Sullivan, the son of an Irish father and an Italian mother, studied Mendelssohn’s composition style in Leipzig. He was therefore, inevitably, the supreme English theater composer of his day, and his often Mozartean style of melody is not out of place in a bel canto festival. After all, in the fourteen operettas he…
Packaged with a peek-a-boo cover exposing only Bryn Terfel’s lovely left eye (the effect of turning the page to reveal the Welsh bass-baritone’s head in its entirety brings to mind this Encyclopedia Dramatica entry) and an oddly hip-hop-flavored gray-on-black treatment of the album’s title, Terfel’s Bad Boys seems designed for those who like their divos…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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