Jake Heggie and Gene Scheer‘s bubbly The Judgement of Paris brings a distinctly Californian terroir to operatic comedy.
Bay Area audiences starved for vocal fare during its opera’s winter/spring hiatus recently experienced two exceptional concerts with distinguished singing at the Davies Symphony Hall.
Davóne Tines has sung with Early Music groups and avant-garde ones, and he has a taste for projects that cross artistic boundaries, which suits an innate showmanship.
A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.
“Spring has sprung,” announces MasterVoices’ director Ted Sperling with a smile at the beginning of Part III. And indeed, even the doomsayers among us (and I count myself one) can’t help but feel signs of cautious optimism, as the world we knew slowly but noticeably begins to re-emerge.
Wednesday night’s New York Philharmonic concert was a high-stakes performance for a number of reasons.
Though the novel’s structure and texture are often compared to musical forms such as Wagnerian music-drama, who would attempt to turn Proust’s A la Recherche de Temps Perdu into opera?
Of all the Olympics-related products created to honor the upcoming summer games in London, surely one of the oddest must be a brand new pasticcio just released on a two-CD set
by Naïve—L’Olimpiade.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.