Teatro Nuovo pays tribute to a historic New York production of Don Giovanni with a talented ensemble.
Gabriela Lena Frank’s El Último Sueño de Frida y Diego enchants and surprises despite the Disnified treatment of its subject matter.
El último sueño de Frida y Diego at the Lyric Opera of Chicago is a visual and sonic wonder, but a weak libretto dampens its effect.
Second casts in Don Giovanni and Turandot at the Metropolitan Opera offer mixed blessings.
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Opera at the Kennedy Center has been in hibernation this winter.
A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
Ah, that Bernstein dichotomy.
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
I hate to say I nearly cringe at the thought of Gioachino Rossini’s Il Barbiere di Siviglia.
I love it, truly, just not that much.
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
It’s maybe not a surprise that Carmen is neither a good vocal nor temperamental fit for Isabel Leonard.
Saturday’s performance of Le nozze di Figaro at the Met mined the humor from Mozart’s divine setting of Beaumarchais’s play about a crazy day in the Almaviva household.
This sterling revival shows the Metropolitan to be surviving well and in good shape.
Minutes into “An die Nacht,” the first song Friday night, I realized how much I’d missed being enveloped in that seductive Straussian combination of a soprano (or two or three) rising higher and higher over a surging orchestra.
Despite having lost its announced Cherubino, conductor and Count (the latter in the midst of rehearsals), the season premiere of Le Nozze di Figaro Saturday afternoon proved to be one of the most enjoyable Met Mozart performances I’ve attended in ages.
The Met’s Cinderella is a charming adaptation of Massenet’s opera. Frothy, fun, and enchanting, it is a magical holiday treat for the whole family to enjoy.
A good time seemed to be had by all though I don’t recall seeing a single child in attendance.
From an exposure standpoint, Ruth Bader Ginsburg was the best thing to happen to opera since Beverly Sills.
I’ve enjoyed these streamed recitals, warts and all, and always appreciate the chance to watch performers let their hair down, so to speak.
For more than 40 years, the magnificent opening image from Francis Poulenc’s Dialogues des Carmélites has served as an icon for the Met.
It was quite a pleasure—a privilege, really—to see John Dexter’s legendary production of Poulenc’s Dialogues des Carmélites.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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