Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Doing my research for these “thoughts” ahead of a starry revival in London that opened yesterday, I came across the following review for the Opening Night of the 1962-63 Season.
The opera titled L’Amant anonyme (“The Anonymous Lover”) is important because it is one of the earliest known operas by a Black composer that still survives in its entirety.
Opéra Royal revives Grétry’s Richard Cœur-de-lion, one of the finest examples of the opéra comique genre.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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