It would be difficult to find a better description for Ambroise Thomas’s newly-recovered Psyché, recently heard in a new recording from Palazzetto Bru Zane, than the one uttered by her suitors: “Charmante Psyché!”
In a splashy new recording of Norma, Marina Rebeka “is doing something very untoward, and it appears destructive to her voice.” It has Niel Rishoi worried.
A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
The Paris Opera continued their 350th anniversary celebration January 26 with a brand new production of Alessandro Scarlatti’s 1707 oratorio Il Primo Omicidio ovvero Caino.
Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.
Plácido Domingo’s conducting reduced the score’s urgency to the lethargy of a jellyfish.
Kitsch is alive and well in Rossini’s La Cenerentola at the War Memorial.
What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor?
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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