This week features Roger Norrington leading a December 2006 performance of Berlioz/ Enfance du Christ from Berlin
Lyric Opera of Chicago rose to the challenges mightily in its first-ever performance of Les Troyens.
Berlioz apparently couldn’t decide if his was an oratorio or an opera, so he labeled it a “légende dramatique.” Since its 1846 Paris premiere, it remains on both opera stages and in concert halls, with its first Met staging in 1906.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
As I mentioned in a previous post, one of my two favorite operas is Les Troyens,
I’m beginning this new series of “pirate-casts” with a great opera: Berlioz’s Les Troyens featuring the luminous pairing of Janet Baker and Jon Vickers as Didon and Énée.
“Disciplined and intelligent.”
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
Perhaps there are not that many people in the world who would look at a CD cover and think “Oh, goody, goody! A libretto by Eugène Scribe I’ve never come across before!”
What we have here is the grandest opera never heard.
the strip on my first and, so far at least, only visit to Las Vegas a few years ago, I noticed what to me was a most unexpected sight and startled my companions by pointing out the window and shouting “Auber!”
Love grand opera but wary of a six o’clock curtain with five hours of music behind it? (And nothing is grander than Berlioz’s Les Troyens, eh?) Your dilemma has been solved. Show up at the Met at 7:30 or 8:00, whenever they have the first intermission.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
After 23 years, the Queen of Carthage has finally made it to Manhattan.
Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block.
Apparently, we learn very little in life; the follies we pursue with haste in youth are answered by the follies we commit in age with great deliberation.
Richard Wagner told Cosima he first got the idea of composing an opera about Tristan and Isolde while he was conducting Bellini’s I Capuleti e i Montecchi starring his muse, Wilhelmine Schröder-Devrient, in the trouser role of Romeo.
I have been a devotee of Berlioz’s Les Troyens since I first discovered the Covent Garden recording conducted by Colin Davis.
Robert Schumann said he devoted more love and energy to Manfred than any of his other compositions. It took him only about a month in 1848 to adapt a translation of Byron’s semi-autobiographical poem about a guilt-ridden noble into a program consisting of an overture and 15 pieces for chorus, orchestra and spoken voice. Schumann was…
First-time novelist Matthew Gallaway’s ardent love for Tristan and Isolde gushes through every page of The Metropolis Case. According to Gallaway, Tristan is the highest expression of human art, and the book functions effectively as the ultimate initiator in the cult of Wagner. The novel opens with a lengthy discussion of the opera in the…
Cher public, who else but La Cieca brings you such in-depth arts coverage that you get not one but two reports from spies at the dress rehearsal of the Met’s new La Damnation de Faust ? After the jump, eyewitness accounts of the Lepagerie from Our Own Gualtier Maldè and Sanford.Â
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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