To heck with Bayreuth and Salzburg, Glimmerglass and Santa Fe as Rosa Feola sang Mozart at Lincoln Center Friday night and I wouldn’t have been anywhere else!
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
I had a panic attack, that’s how moved you made me.
Renée Fleming makes her belated “Trove Thursday” debut as Sandrina in a rare early performance of Mozart’s La Finta Giardiniera.
Another five-Thursday month invites “Trove Thursday” to offer a combo of shorter works.
An outstanding performance of Weber’s Euryanthe to share on “Trove Thursday.”
In her debut solo album, Jamie Barton surrounds Gustav Mahler’s staples of the song repertoire, Rückert Lieder, with the less familiar Gypsy Songs of Antonin Dvorák and select songs by Jean Sibelius.
2017 happily brings the return of Trove Thursday with a rare and enthralling live performance of Gluck’s Alceste featuring Jessye Norman.
strong>Christian Gerhaher does not appear at first to sing but rather to speak on pitches, telling stories, explaining words by lingering on them or biting them off short.
Miss Battle was greeted with a thunderous ovation befitting a beloved singer at the end of an illustrious career.
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
When LaCieca asked me to choose my favorite live recording, I had to think… and think.
Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall.
And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.”
The increasingly protean Jessye Norman intones the classic American anthem “Midnight Special.”
Despite the continued popularity of Der Freischütz in German-speaking countries, are the magical mature operas of Carl Maria von Weber otherwise really so problematic, their libretti so unwieldy to explain their continued absence from the world’s stages?
I am certain that we Parterrians are a very literate, even literary, group.
The crossover album: a hint that that an artist has either exhausted all the repertory at her command and owes her record label a new release or that her waning vocal resources really shouldn’t be taxed much further than an octave.
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.
“Is a work an opera simply because its creators choose to call it one?”
Janácek’s Makropulos Case has only chalked up thirteen performances in three previous runs at the Met and will have just five more this season. Try to catch at least one.
I have been a devotee of Berlioz’s Les Troyens since I first discovered the Covent Garden recording conducted by Colin Davis.
Almost exactly one hundred years ago on March 18, 1912, the Metropolitan Opera gave its final performance to date of Armide.
Ah, the “themed” recital disc! Sometimes it’s a special treasure in a collector’s trove showing off the lesser known skills of a beloved performer; more often, an object of mirth and ridicule toward those who’ve been ill-advised or have already committed most of their repertoire in the studio and are now starting in on someone…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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