Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
I can’t say 2025 was my best operagoing year; apart from a superb Fille du régiment, most of my good nights at the opera were decidedly mixed affairs.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
The world premiere of Dolores and Charpentier‘s David and Jonathan bring the heat to West Edge Opera’s 2025 Festival.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
Two short theatrical works and one sacred piece from the beguiling oeuvre of the guy who didn’t write Louise
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
For those who relish 17th and 18th century vocal music, the annual visits to the Morgan Library by the singers and instrumentalists of the Boston Early Music Festival invariably guarantee delight
Philippe Jaroussky mentioned introducing his encores that he has not appeared in New York in 12 years.
Before Wednesday I don’t remember gasping when I entered a concert venue.
Trove Thursday celebrates Pride with a Bible-based homoerotic sort-of opera not by the guy who wrote “Depuis le jour”: Charpentier’s David et Jonathas with Mark Padmore, Laurent Naouri and Jaël Azzaretti led by Emmanuelle Haïm.
As Phaedra’s tragic, all-consuming passion for her stepson Hippolytus has fascinated artists for centuries, Trove Thursday offers two of its lesser-known musical settings: Pizzetti’s opera Fedra with Régine Crespin and Lorraine Hunt Lieberson performing the cantata Phaedra, Britten’s final vocal work.
In the triumphant American premiere of Orlando Generoso at the Boston Early Music Festival last week, the hippogriff was among the many stars of the show.
French early music group Ensemble Correspondances offered two of the year’s very best concerts.
Simone Mayr’s Medea in Corinto, a curious work of 1813, has been revived by Will Crutchfield’s new enterprise, Teatro Nuovo.
Scheming Anne-Sofie von Otter offs her brother and sons before the opera even begins? You bet!
Can a surfeit of pleasure become—in the end—unsatisfying?
“Trove Thursday” provides a live broadcast of Mozart’s rarely performed cantata Davide Penitente by Les Arts Florissants conducted by William Christie.
For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals.
Marc-Antoine Charpentier came along at the wrong time for a composer of French opera.
Marc-Antoine Charpentier’s opera David et Jonathas, written for a celebration at a Jesuit school in 1688, premiered together with a Latin verse drama, Saul, now lost.
You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season.
Cecilia Bartoli and Joyce DiDonato are not the only ladies who have recorded recitals this year featuring music from the 17th and 18th centuries.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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