Die Walküre heralds the end of an era for the Los Angeles Philharmonic — and the arrival of a new generation of Wagnerians.
A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
Kent Nagano gives a boost to the Opéra national de Paris‘s revival of Nixon in China.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
A David Lang premiere at the New York Philharmonic brings a wealth of musical delights — and bodes well for Gustavo Dudamel‘s leadership.
Daniele Rustioni, who starts his tenure as Met Principal Guest Conductor with Don Giovanni this week, might just be the opera conductor we’ve all been waiting for — and he’s betting on a long haul.
Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
Out of sheer morbid curiosity last evening I pulled up the “orders” page of my Amazon account and searched Otello to discover that over the past 11 years. I’ve ordered 15 items with that title (one as recently as last night!)
Russell Thomas’s opening aria, “Del piu sublime soglio” displayed an intense attention to the text and some surprisingly beautiful piano phrasing that I’ve never heard risked before and it brought wonder and gooseflesh.
At Friday’s opening of Otello, there was a good deal of interesting going on, though not all of it necessarily onstage.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
Not a few eyebrows arched on social media when L.A. Opera appropriated the hashtag “Fight like a girl” on street level poster adverts all over town for the revival of their 2013 production of Giacomo Puccini’s Tosca.
The Hollywood Bowl is truly the preeminent musical venue in Los Angeles.
What gets me, La Cieca snaps, is not so much that Levine bit off more than he could chew, because that’s old news.
I never thought I’d see the day when Giuseppe Verdi and Benjamin Britten would battle it out for musical superiority but that’s exactly what happened in Los Angeles this year.
After the success of its Don Giovanni in 2011, Lincoln Center invited Iván Fischer and his Budapest Festival Orchestra to return for the Mostly Mozart Festival premiere (!) of the first of Mozart-da Ponte’s three masterpieces Le Nozze di Figaro late Sunday afternoon at the Rose Theater.
American mezzo Jamie Barton, who has steadily been winning fans in the US over the past few years for her rich and nuanced singing, took the international opera world by storm last weekend by winning both the Song Prize as well as the overall prize in the BBC Cardiff Singer of the World competition.
“So, how is this new Pavarotti?” or, “This young tenor, what’s his name, I saw him on the morning show, is he any good?” When people who have never set foot inside an opera house—and know Maria Callas chiefly as the woman Aristotle Onassis dumped for Jacqueline Kennedy—start asking me such questions, then I…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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