Zémire et Azor, André-Ernest-Modest Grétry‘s riff on “Beauty and the Beast”, gets a rare outing in the Berkshires.
Barbara Hannigan mesmerizes as both a brilliant vocalist and a proficient opera conductor in a double bill of Strauss and La voix humaine with the New York Philharmonic.
Before her one-woman La voix humaine with the New York Philharmonic, Barbara Hannigan talks to Kevin Ng about her career, her artistry, and whether or not there’s a voice on the other line.
Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
Opera Philadelphia’s return to the stage after two years was greeted by a cheering crowd who clearly would have been happy to stay longer, but as director David Devan acknowledged, this was a step in a continuing trajectory.
When LA Opera finally decided to put a toe in the water and mount its first production since the start of the Covid-19 pandemic, it was Igor Stravinsky‘s opera/oratorio Oedipus Rex.
I hardly know where to heap my praise first.
Soprano Patricia Racette is superb in La Voix Humaine, a work that she makes absolutely her own.
Antonacci’s singing is remarkably beautiful for one who clearly doesn’t make that a top priority.
It’s a pity that Francis Poulenc took so long to getting around to compose his operas.
Anna Caterina Antonacci delivered a tour de force of French diction, subtlety of phrasing, variation of vocal timbre, and white-hot stage acting.
What to do with all those glorious short operas: play them alone or find companion pieces?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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