Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
An invigorating double bill at the San Francisco Symphony challenges how Bach “should” be performed.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
Two recent Paminas feature in concerts at Lincoln Center and Carnegie Hall.
Washington National Opera presented a well-sung and humorous Marriage of Figaro, buoyed by clever direction and a strong cast, particularly Rosa Feola’s Countess and Joélle Harvey’s Susanna.
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.
What happens when you attend a performance and it doesn’t engage you?
Do you ever wonder how easy it is to invent a Christmas tradition?
If Sunday’s performance of Magic Flute at the Met demonstrated one thing, it is that opera targeted at children must be just as good as (if not better than) opera targeted at adults.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
Sunday afternoon at Carnegie Hall two remarkable slices of soprano-heaven were served up, first by Carolyn Sampson and then by Erin Morley, during the second act of Handel’s Orlando.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Nearly 30 years after a Handel opera last played there, Carnegie Hall presented The English Concert opening a three-year opera-oratorio project on Sunday afternoon with Radamisto.
That’s what it must have been like in 1726 London when Handel composed Alessandro for perhaps the three most famous (and expensive) singers of the day.
The Underworld as corporate boardroom, Pluto a “suit,” the damned a bunch of clerks tapping away at laptops.
The day after opening the 2009-10 season with Hugo Weisgall’s Esther, New York City opera presented one of the most beloved operas in the entire repertoire, Mozart’s Don Giovanni, in a new production by Christopher Alden.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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