American Bach brings out the operatic side of Bach in a program featuring sparkling vocal talents.
Eli Jacobson inaugurates parterre box’s new “Perspectives on the Aria” feature with a deep dive into Leonore’s “Abscheulicher!” from Beethoven’s Fidelio which returns to the Metropolitan Opera tomorrow with the Met’s current dramatic soprano star Lise Davidsen as Leonore.
On Tuesday night, in the commodious concert hall of the Morgan Library, the Boston Early Music Festival forces brought Georg Philipp Telemann’s Don Quichotte auf der Hochzeit des Comacho to New York.
Welcome, beloveds, to the Jessye Norman Memorial Museum. I’ll be the docent for your tour today.
The opera titled L’Amant anonyme (“The Anonymous Lover”) is important because it is one of the earliest known operas by a Black composer that still survives in its entirety.
We are in the midst of a titanic Beethoven onslaught prompted by the unstoppable need to commemorate the composer’s upcoming 250th birthday.
Barbara Hannigan‘s electrifying performance with the Juilliard Orchestra on Friday night proves that she is as much a force to be reckoned with on the podium as she is onstage.
In a striking program at Carnegie Hall last night, the Orchestra of St. Luke’s), with guest vocalist Susan Graham, brought together a wide array of musical proclivities—good and good bad taste alike.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
Handel’s Orlando is one of three operas Handel based on episodes from Ariosto’s best-selling sixteenth-century epic, Orlando Furioso. The story was, in 1733, well known throughout the Mediterranean world, and everyone set it to music—Vivaldi’s and Haydn’s settings have enjoyed recent revivals, and the libretto Handel set had originally been devised for Domenico Scarlatti. Intricate…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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