A heady audience paid top price to pack Carnegie Hall Thursday for just 80 minutes of unstaged Wagner.
“Trove Thursday” presents a live Tristan 2 concert featuring one of my favorite dramatic sopranos. Gertrude Grob-Prandl.
The Met’s magnificent revival which opened on Monday night with a superb cast under the mesmerizing leadership of Yannick Nézet-Séguin nearly converted me into a devoted Parsifal disciple.
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Touting an austere, governessy program—the hour-and-change Schubert/Müller cycle, Die schöne Müllerin—Jonas Kaufman fulfilled his long-awaited, high-profile return to Carnegie Hall last night.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
Another five-Thursday month invites “Trove Thursday” to offer a combo of shorter works.
In Andrea Chenier an unexpected Canadian star-tenor relishes beheading alongside a far less well-known Italian diva: Jon Vickers and Ilva Ligabue.
Ali Baba ou Les Quarantes Voleurs continues straight-tone September with Teresa Stich-Randall as its heroine while Alfredo Kraus scales the heights with another Nadir.
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
The debate over live transmissions of opera to cinemas in HD isn’t going to go away.
A live broadcast of the prologue to Ariadne auf Naxos featuring Julia Varady, a favorite sopranos in a role she sang only rarely.
Let’s be honest: I was there for Kaufmann and Kühmeier, two of my favorite singers.
We leave behind the Vienna of the 1740s, the time of breeches, fans and white wigs.
Kaufmann conveys Lohengrin’s immense loneliness in a profoundly moving way. I am happy to report that vocally he sounds completely recovered.
Jonas Kaufmann announced that he feels ready to return to the stage after calling in sick since last autumn
“Trove Thursday” presentsFerdinando Paër’s 1804 Leonora ossia L’Amore coniugale.
Berlioz apparently couldn’t decide if his was an oratorio or an opera, so he labeled it a “légende dramatique.” Since its 1846 Paris premiere, it remains on both opera stages and in concert halls, with its first Met staging in 1906.
“Has anyone ever seen a truly great production of this opera?”
Can it all be true? She did what? He said what?
It took the better part of a decade—including two high-profile cancelations—or New York to finally hear Anna Netrebko in recital.
There is a self-effacing quality to Jonas Kaufmann’s concert film An Evening with Puccini.
Sir Richard Eyre’s new Manon Lescaut at the Met Friday night demonstrated no particular aptitude for opera.
A woman reads from the Bible. There is a dance scene in a tavern. The discovery of blood gives away the protagonist.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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