Pierre Monteux‘s career defies time.
I had heard the renowned Dutch soprano on recordings and was an admirer of hers. I was unprepared, however, for such a truly memorable evening.
Golda Schultz casts darkness in an alluring light in an intimate recital at the New Orleans Opera Festival.
Golda Schultz and Jonathan Ware present Dark Matter(s), an intriguing program of songs, at the Philadelphia Chamber Music Society.
Bay Area audiences starved for vocal fare during its opera’s winter/spring hiatus recently experienced two exceptional concerts with distinguished singing at the Davies Symphony Hall.
When the Staatskapelle Berlin announced a two-night engagement at Carnegie Hall performing all four Brahms symphonies, I immediately made a note in my calendar to attend. I also wondered who would be the conductor when the announced Daniel Barenboim inevitably withdrew.
Mezzo-soprano Fleur Barron showed herself unafraid to move the expectations of classical music forward, linguistically, thematically, and culturally.
What happens when you attend a performance and it doesn’t engage you?
Starting March 19, Vocal Arts DC’s latest virtual concert lavishes listeners with a sumptuous recital of art songs from the Norwegian soprano Lise Davidsen.
Renée Fleming presented a satisfyingly eclectic and quietly daring program of songs and arias, an interesting timestamp on a career that, despite its crepuscular vibe, seems as active as ever.
“Trove Thursday” features its two favorite baritones in a pair of comforting settings of the Requiem.
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
Tenor Matthew Polenzani and pianist Julius Drake’s performance left this listener in a a state of euphoria.
August on “Trove Thursday” begins with Midsummer Mezzo Madness featuring a sterling quartet of lower-voiced ladies
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
I fucking love Renée Fleming.
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels.
I was greatly anticipating Karita Mattila’s recital on Friday in Toronto’s Koerner Hall.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
Our Own Jungfer Marianne Leitmetzerin presents Natalie Dessay in recital.
Midway through the first portion of this past Wednesday’s New York City recital debut of Mme. Natalie Dessay I became very distracted by the persistent urge to try to characterize the experience of what was happening on stage, for this was, by no means, an ordinary recital and no ordinary debutante.
Taneev was quite a high-minded fellow, so it’s not altogether surprising that nothing less than Aeschylus (and the whole of his Oresteia!) would suffice as a libretto for his first and only opera.
Austrian mezzo Angelika Kirchschlager left an incomplete impression as a Lieder singer Sunday night, in a quirky recital program of Brahms, Wolf, Mahler and Reynaldo Hahn, with pianist Warren Jones. Suffering from a cough and swallowing some words, Ms. Kirchschlager succeeded more in gesture than details. Breezing through Brahms’ songs “Meine liebe ist grün,” “Über die Heide,” and “Salome,” faux-naïve songs…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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