My first opera of the new season in Paris, after kicking off in Brussels with Kris Defoort’s thought-provoking The Day of our Singing, was another nearly-new work, totally new to me: Sir George Benjamin’s Picture a day like this.
Only time can tell if some performances enter the collective opera memory, if such a thing even exists, as “historical”
Is there any opera more bullet-proof than Le Nozze di Figaro?
It’s an old chestnut of a joke that applies even more to opera than to the theatre: A veteran actor is on his deathbed.
Beauteous Trinidadian soprano Jeanine De Bique appeared Sunday afternoon with the visiting Budapest Festival Orchestra under Ivan Fischer.
Although she didn’t sing that eponymous song by Reynaldo Hahn at Weill Recital Hall Thursday evening, Sabine Devieilhe did offer an “exquisite hour” of early 20th century French songs.
August on “Trove Thursday” begins with Midsummer Mezzo Madness featuring a sterling quartet of lower-voiced ladies
The unevenly-beating Heart unfortunately proved less than the sum of its deluxe parts.
Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan.
While Bernard Herrmann is remembered primarily for the seven films on which he collaborated with Hitchcock, he also composed one opera: Wuthering Heights, written between 1943 and 1951.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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