Esa-Pekka Salonen and The Los Angeles Philharmonic serve a feast for all five senses.
Le nozze di Figaro in Santa Fe is a light and kindly revival while The Turn of the Screw is crisp and atmospheric
The opening of the Santa Fe Opera’s season is the perfect occasion to highlight its Susanna, American soprano Liv Redpath
Despite the practically unmitigated fiasco of the last Verdi concert opera performance seen in Boston, I approached Sunday’s Boston Youth Symphony Orchestras performance of Don Carlo at Harvard’s Sanders Theatre with much more optimism.
This Sunday marked a muted return of the Richard Tucker Foundation Gala, which had the dubious distinction of the fourth edition not to feature a prizewinner and perhaps the first not to provide complete orchestral and choral accompaniment for its performers.
On October 20th, a wet but warmish Friday night, the Metropolitan Opera opened this season’s revival of Verdi’s Un Ballo in Maschera in David Alden’s 2012 production.
LA Opera sent out an email warning that the production “contains depictions of blood, violence, and drug use, as well as strobe lights and a gunshot effect in Act III.”
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
For opening night of the new LA Opera season Placido Domingo decided to return to one of his best Verdi showcases, Don Carlo, only this time as the baritone, Rodrigo the Marquis di Posa, instead of the title character.
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.
What if you could time travel back to the first run of Giuseppe Verdi’s first great success Nabucco?
When you attend a performance of Georges Bizet’s Carmen you can never be quite certain which one you’re in for.
Saturday night the Los Angeles Opera threw itself a party.
All those who have been in a rage since the news broke this week that the Metropolitan Opera has invited Calixto Bieito to stage Verdi’s La Forza del Destino can relax and embrace the Juilliard Opera’s new Le Nozze di Figaro which opened Friday night.
Gluck’s Iphigénie en Aulide (1774), the occasion of his Paris debut, gets far less respect than her sequel, Iphigénie en Tauride.
For many in New York and around the world, if the name William Christie appears on a concert or opera program, it’s a must-attend.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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