The divine Dame Janet Baker never sang at the Metropolitan, sadly for American audiences.
Under the baton of Nicholas McGegan, Philharmonia Baroque Orchestra & Chorale proves they have a magic touch in a program of Rameau and Handel.
What Opera Lafayette’s Dido and Aeneas lost in gravitas it gained in charm and specificity.
Not even howling winds and thunderous rain could dampen the excitement of Bay Area audiences to experience Norwegian soprano Lise Davidsen for the first time in the Bay Area at Zellerbach Hall Berkeley last Tuesday, 4 February.
Can György Ligeti‘s only opera be understood as the composer’s own grappling with trauma, death, and memory of a past life?
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
While Charles III’s coronation (with Harry but without Meghan and Fergie) commences in London on Saturday, the party started early last month at Carnegie Hall when the Orchestra of St. Luke’s joined by La Chappelle de Québec performed Handel’s gloriously celebratory Coronation Anthems which were composed for a 1727 crowning.
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
The cabaret at Saint Ann’s Warehouse delivered frothy fun and a dollop of pathos with Anthony Roth Costanzo and Justin Vivian Bond in Only an Octave Apart.
Trove Thursday celebrates early St. Cecilia’s Day—November 22—with a 1976 performance of Licino Refice’s Cecilia starring Renata Scotto as the patron saint of music and musicians.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
Who could doubt that Leontyne Price contains multitudes?
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
Beg. Borrow. Steal. Bargain. Cajole. Seduce. Threaten. Extort.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
In the triumphant American premiere of Orlando Generoso at the Boston Early Music Festival last week, the hippogriff was among the many stars of the show.
We convoke for Dido and Aeneas in an arched tunnel a city block long, lit by candles in the many recesses.
Iestyn Davies is, of course, a renowned Handellian, and he sang Handel’s music with clarity, restraint, and precision.
The New Camerata Opera performs a double bill of John Blow’s Venus and Adonis, sometimes dubbed the first English opera, and Gustav Holst’s Savitri.
“Trove Thursday” marks St. Cecilia’s Day with two works by Henry Purcell, the composer who often celebrated music’s patron saint.
This program honored the singer, composer and theorist Giulio Caccini, “Giulio da Romano,” on the 400th anniversary of his death.
Although Leonard Bernstein’s Trouble in Tahiti is always categorized as an opera, the piece certainly has one foot planted firmly in his jazzy musical-theater style.
Joyce DiDonato’s atest album, In War & Peace: Harmony through music, is more specific than it sounds.
In a striking program at Carnegie Hall last night, the Orchestra of St. Luke’s), with guest vocalist Susan Graham, brought together a wide array of musical proclivities—good and good bad taste alike.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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