On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
On this day in 2008 the Metropolitan Opera presented a gala new production of Puccini’s La rondine.
This tenor must be the finest classical singer in the world today.
Only time can tell if some performances enter the collective opera memory, if such a thing even exists, as “historical”
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.
Ombra Compagna, out today on Pentatone, spotlights Lisette Oropesa in 10 of Mozart’s most challenging concert arias accompanied by Il Pomo d’Oro conducted by Antonello Manacorda.
Opera Philadelphia Channel invites viewers to revisit a 2015 production of La Traviata, captured on the Academy of Music stage, that’s notable for Lisette Oropesa’s debut as Violetta Valéry.
Joining the Met’s week of bel canto reruns and Tuesday’s premiere of Teatro Nuovo’s exciting new project, Trove Thursday presents Bellini’s I Capuleti ed I Montecchi with Tatiana Troyanos and Cecilia Gasdia.
I need to get something off my chest. I love bel canto.
While last year’s finals were dominated by early nineteenth-century bel canto arias, this year’s finalists took on a remarkably broad range of music from a variety of repertoires.
The season’s second cast delivered a satisfying, if not transcendent, La Traviata at the Met last night as they struggled to emerge from piles of jewel tone brocade and gold filigree.
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
Sunday’s Richard Tucker Gala at Carnegie Hall was unusually satisfying despite a less than usually superstarry line-up.
Trove Thursday presents Michael Fabiano in one of his specialties as the dashing hero of Il Corsaro torn between Tamara Wilson and Nicole Cabell.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
At the Met’s performance of Manon Tuesday evening, Michael Fabiano made as good a case as any for renaming the opera Chevalier des Grieux.
To mark Beverly Sills’s 90th birthday (May 25, 1929) “Trove Thursday” offers the late diva’s acclaimed Massenet heroine opposite her ideal Des Grieux, Alain Vanzo.
Logistically, a large-scale revival of the operas of Giacomo Meyerbeer is an unreasonable request, much less an expectation.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
I have a confession to make. I have been taking Rigoletto for granted.
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
Hansel and Gretel might just be the best thing the Met has done so far this season.
Washington National Opera offered a shellshocked D.C. some much-needed diversion Saturday night, with a new production of La Fille du Regiment.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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