I’ve never liked the term “crossover.”
When a work is named for its lovers one might legitimately expect that pair to dominate its performance but in my experience that is never the case with Debussy’s Pelléas et Mélisande.
Though barely a week old, 2019 has already provided New Yorkers with an essential, breathtaking music drama focusing on two women struggling for their very survival.
The Met is on it with something something woker than woke: a noirish psychodrama of a frigid hysteric who seeks redemption via Freudian analysis!
“Trove Thursday” offers a broadcast from last year’s London world premiere of Nico Muhly’s Marnie.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
A Met HD cinema broadcast of Puccini’s Tosca on Saturday, 27 January, concluded the first run of a production marked by upheaval in the ten months between its announcement and its New Year’s Eve premiere.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Two productions at the Aix-en-Provence festival shared one look.
Published in 1975, James McCourt’s novel Mawrdew Czgowchwz is engaged with a longing for the divine.
I am, perhaps instinctively, skeptical of those who commit suicide.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
Jarrett Ott is a star. That is the only surprise takeaway from the well-intended snore, Cold Mountain.
The annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming.
This “new-to-Chicago” production is a sheer pleasure from beginning to end.
You will be happy to hear that Michael Fabiano was the unrivaled star of the Richard Tucker Foundation Gala tonight.
The Metropolitan Opera desperately needed a new production of Le nozze di Figaro.
There is a truism that there are no small parts, only small singers. Last night’s Così fan tutte has made me consider another possible truism: there are no bad productions, only miscast productions.
While James Levine’s name might not immediately spring to mind when pondering the great Mozart conductors, he does have a long and distinguished career leading operas by the Austrian master.
Natalie Dessay coyly bares a breast on the cover of Virgin Classics’ new Giulio Cesare.
Our JJ‘s review of the Met’s revival of Le nozze di Figaro didn’t make it into today’s New York Post for reasons that you should be able to figure out once you’ve read the piece. At the suggestion of his editor, La Cieca is publishing it here.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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