While it may not be top-tier Rossini, Teatro Nuovo’s mounting of Il turco in Italia is still good summer fun.
Supported by an ingenious production and strong performances, Antonia Bembo’s Ercole Amante makes a successful Paris Opera debut.
Offenbach‘s Robinson Crusoé is salvaged from obscurity.
Michael Anthonio crunches the numbers on San Francisco Opera’s recent seasons and goes straight to the top to General Director Matthew Shilvock for a look at where SF Opera has been and where it’s headed
Final opera of the season. Little-known opera. A revival. So, you can probably skip it, right?
With the phenomenal cast that stacked Paris Opera’s production of I Capuleti e i Montecchi , it was easy to overlook the quirks of Bellini’s opera and get lost in the pleasures of glorious bel canto singing.
Last Wednesday the 92nd Street Y presented the friendliest-ever episode of American Gladiators when Lawrence Brownlee and Michael Spyres continued their bel canto bromance with a delirious (almost) all-Rossini recital accompanied by Myra Huang.
The Paris Opera assembled an all-French cast to stage arguably the most well-known example of opéra-ballet, Jean-Philippe Rameau’s Les Indes Galantes.
Two productions at the Aix-en-Provence festival shared one look.
Clemency tends to get a bad rap these days, as polities demand swift action by leaders whose mandates to govern are violently threatened by “terrorists.”
Heaven temporarily relocated to the Théâtre des Champs-Élysées Sunday evening for a concert performance of Rossini’s revered but rarely heard Semiramide.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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