The premiere recording of David T. Little’s What Belongs to You reveals a work of both tenderness and artistic tenacity.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
Kevin Ng sits down with PEN/Faulkner Award-winning novelist and critic Garth Greenwell to talk about sex, queerness, and the “promise of opera.”
While the Met’s Mozart-lite holiday production of The Magic Flute kept the eyes entertained with spectacular sets and costumes, the scattershot casting and lack of musical seriousness dragged down this opera for beginners.
Opera has always been Orpheus-obsessed.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
I confess to being a “bad” dance fan: over the decades I’ve learned that if I don’t love (or at least like) the music, I won’t love the dance.
New York shall never be in need of another Messiah to assist to during the holiday season, but a new tradition is beginning to crystallize at the cavernous St. John the Divine to rival it.
People these days often exclaim “…..is everything!” but often it feels like gross hyperbole. But surely anyone who has seen Mark Morris’s L’Allegro, il Penseroso ed il Moderato since it premiered in 1989 would agree that it is indeed everything!
For those who complain (not entirely unfairly) that Handel operas are “just a string of da capo arias,” I sometimes mutter to myself, “Have they ever tried Rameau?”
While it must be admitted that Elza van den Heever doesn’t have an ideally warm and agile Handel voice, she evidenced fierce control over her instrument and skillfully built a powerful portrait of the courageous Rodelida fighting for her survival.
Next Wednesday is the composer’s 337th birthday, so Trove Thursday previews this spring’s most enticing Handel performance with two very different live versions of his delightful Serse,.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Starring Jamie Barton, Orfeo ed Euridice returns to the Met next month for the first time in more than a decade so “Trove Thursday” offers two complete live versions of Gluck’s masterwork.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
Mark Morris’ saucy, psychedelic The Hard Nut has returned to the Brooklyn Academy of Music yet again this week for its 27th Christmas since the ballet premiered in Brussels.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
Idomeneo proved enormously moving while a much more complicated Così fan Tutte went for shallow romantic hijinks stripping that work of its darkly ambiguous disturbing view of love.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
Notable purveyor of mayhem and infanticide Medea has lately been missing from the local operatic scene, but Sunday afternoon sections of the recently renovated Alice Tully Hall were singed by Canadian soprano Dominique Labelle’s blazing incarnation of the Greek sorceress.
Mark Morris’ staging of Acis and Galatea at Lincoln Center is everything good about summer condensed into two hours.
What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor?
Lincoln Center hosted two milestones this week.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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