Benjamin Bernheim opens up to Emma Hoffman about what really makes a French tenor ahead of his New York recital debut.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Parterre Box highlights a busy few months of Verdi performances for Marina Rebeka and Ludovic Tézier with an exciting sample of their debuts in Nabucco.
Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris
Ahead of her return to the Met, soprano Corinne Winters chats with Kevin Ng about her repertoire, overcoming biases about her voice type, and how she plans to play “energetic, young women” as long as she can.
Matthew Travisano takes on Mimì’s Act III aria from La bohème — not that one, the other one — in the latest installment of the “Perspectives on an Aria” series
Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle
Yes, there were other Giocondas if not of quite the same distinction. Chronologically…
And what a luxury it is to experience this musically outstanding Parsifal with a cast of this caliber!
As said at the beginning, I implied I’d rather see Don Carlo(s) and listen to Forza.
Who’s been hiding tenor Benjamin Bernheim from me all this time?
Anita Rachvelishvili and Quinn Kelsey towered over an otherwise pedestrian if still exciting Il Trovatore.
Psychology is encoded in the composer’s vocal lines more than his librettist’s words.
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
“Has anyone ever seen a truly great production of this opera?”
“Hailed ‘the Meryl Streep of opera’…” begins one sentence of a promotional piece for a Diana Damrau recording of another opera, reproduced on the soprano’s website.
The studio opera recording is a rare beast these days and its arrival always a cause for celebration.
Saturday evening conductor Will Crutchfield revived Donizetti’s La Favorite—unheard in New York for fifteen years.
At what moment does a “rising star” become simply a “star”?
And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.”
This year, I attended one of Natalie Dessay‘s only fully-sung Traviatas at the Met.
Tchaikovsky’s Queen of Spades straddles two genres. With a macabre plot that explores the boundaries of human obsession, it’s an early psychological thriller that makes the audience engage in a kind of voyeurism Alfred Hitchcock loved. Yet the plot drawn from Pushkin and the striking Romantic score with its references to Mozart, Bizet and Grétry firmly…
Decca has released a remarkable performance of Massenet’s great romantic tragedy Werther. Filmed live in January 2010, this performance stands out primarily for the great singing and dramatic vitality of the principals, particularly the remarkable Werther of Jonas Kaufmann. It is rare to hear a tenor voice with this much heft, body and color phrase…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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