San Francisco Opera hosts an exuberant tribute to queerness past and present.
Patrick Mack on the iconic Ethan Mordden‘s career and his first book on opera in 30 years – and it appears that time has mostly stopped in the Mordden manse.
As an opera fanatic who was baptized by the blood of Leontyne Price, the Messa da Requiem by Giuseppe Verdi appeared on my radar fairly soon after I started delving into the operatic canon.
“The function of prayer is not to influence God, but rather to change the nature of the one who prays” – Soren Kierkegaard
The sonic wizards of the Netherlands at Pentatone have released their latest in the series of Maestro Lawrence Foster’s studio opera recordings. Reunited with his Lisbon forces, the Gulbenkian Orquestra and Coro, for a fresh take on Puccini’s three-hanky weeper.
Turandot finally arrives on Trove Thursday, but it’s the setting by Ferruccio Busoni which predates by a decade the one by that other Italian guy, and it’s paired today with Arlecchino, the composer’s other commedia dell’arte-influenced short opera.
Giacomo Puccini’s La fanciulla del West may have its detractors (Stravinsky referred to it as a “horse-opera’) but you will not find me among them.
Mascagni’s Cavalleria Rusticana has always been a particular favorite, although I’ve only seen it staged once (and that by an amateur company the details of which I share spare you all, save to note that dinner was served during the performance.)
It’s Easter season, and that can mean only one thing for opera: It’s Cavalleria Rusticana time. And I, for one, couldn’t be more excited.
Mozart appears to find promiscuity a source of humor rather than something that is a fundamental problem.
Saturday night I navigated the Music Center concourse, or what’s left of it with it’s seemingly eternal construction to the main plaza, wending my way to the Dorothy Chandler for the opening night of LA Opera’s Hansel and Gretel.
The Barber of Seville turned out to be the most overall solid production of the year and even a bit of old-fashioned fun.
A regular day in 2018 Washington, D.C., or Verdi’s Don Carlo?
The arrival of a new recording of Giuseppe Verdi’s Otello into the catalogue, to say nothing of a new tenor capable of singing Otello, is generally cause for hosannas all around in operatic circles.
Happily, this Rheingold, which returned to the Kennedy Center Saturday night to open the first of three complete cycles, has been shorn of its clumsier gestures.
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s Appomattox had everything going for it but the opera.
I have found myself truly bewildered by some of the online reviews of the Glimmerglass production of Verdi’s Macbeth.
Zofia Posmysz spent two years as a prisoner in Auschwitz—and she’s still alive and standing pretty tall, in New York for the Lincoln Center Festival God bless her.
In the process of unearthing forgotten musical works, sometimes we stumble across a gem. World War II saw an entire generation of European composers forced into internment or diaspora, and their works are only slowly being rescued from obscurity. In a recent DVD release from the LA Opera, a part their Recovered Voices series, we…
Okay, it wasn’t Sister Act all the way, but in the middle of Acts IV and V, ENO’s new production of Gounod’s Faust (September 18) almost turned me into a straight Catholic Republican conservative. But we’ll get to the reason why a bit later.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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