Calling from 2066, Brendan Latimer argues that the best way to save opera might be to just blow up the standard repertoire altogether.
Bass-baritone Le Bu’s recital with Vocal Arts DC highlighted his linguistic and timbral versatility.
Big voices overwhelm Claus Guth‘s toothless staging of Khovanshchina at the Berlin Staatsoper.
A new production of Dialogues des Carmélites featuring Anna Caterina Antonacci proves that it’s hard to be an iconoclast in Venice.
When the New York Philharmonic announced Gustavo Dudamel as its next music director earlier this year, speculation arose immediately as to who would take his place out West when he leaves the Los Angeles Philharmonic in 2026.
Mezzo-soprano Fleur Barron showed herself unafraid to move the expectations of classical music forward, linguistically, thematically, and culturally.
Brigitte Fassbaender‘s sound is piquant and, I’d hazard to guess, instantly recognizable to anyone familiar with her work.
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Mussorgsky’s Boris Godunov must be Russian’s most iconic opera and “Trove Thursday” presents it with Claudio Abbado leading an impressive team.
At “Trove Thursday” it’s May Night, Nikolai Rimsky-Korsakov’s 1880 comic opera, in a recent broadcast from Moscow led by pianist-conductor Mikhail Pletnev.
You’d think by now I’d know better than to make snap judgments about an opera or a singer—but apparently not.
Revive is a manifesto of sorts, declaring Elina Garanca’s intentions for the new direction in her career.
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory.
Taneev was quite a high-minded fellow, so it’s not altogether surprising that nothing less than Aeschylus (and the whole of his Oresteia!) would suffice as a libretto for his first and only opera.
The story is enough of a cipher to make any regie-bent director salivate.
In the fall of 2010, director Andrei Konchalovsky and conductor Gianandrea Noseda struck up a collaboration for a new production of Mussorgsky’s Boris Godunov, to be performed at Teatro Regio Torino, co-produced with Palau de les Arts Reina Sofia of Valencia and Fondazione Lirico Sinfonica Petruzzelli e Teatri di Bari.
I own almost every recording of the 13 operettas Sir Arthur Sullivan wrote with W.S. Gilbert ever made. Twelve Mikados, 14 Pirates of Penzance, 10 Iolanthes, right on down the line to the rarely heard Utopia, Ltd. I was a G&S fan long before I got into opera; when I was a teenager, their operettas…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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