No shrinking Violanta
A chic production of Violanta at the Deutshce Oper Berlin continues the Korngold craze on the other side of the Atlantic.
Paul O'Dette
12 pieces since 2011 — at 1 company, most often at Boston Early Music Festival.
12
pieces
1
company
16
years
By company
Up an Octavia
The operatic offerings of Boston Early Music Festival — Keiser‘s Octavia and Telemann‘s Pimpinone and Ino — are delectable discoveries
Garden varieties
Those of us in New York City who relish 17th century Italian vocal music were offered an enticing banquet over the past few weeks.
Louis Louis
For those who relish 17th and 18th century vocal music, the annual visits to the Morgan Library by the singers and instrumentalists of the Boston Early Music Festival invariably guarantee delight
Sweet 1600s
Over the past week New York City was blessed by two appealing 17th century presentations: John Blow’s Venus and Adonis from Opera Lafayette and La Storia di Orfeo courtesy of the Boston Early Music Festival.
Band in Boston
In the triumphant American premiere of Orlando Generoso at the Boston Early Music Festival last week, the hippogriff was among the many stars of the show.
I love you to death
New York fans of 17th century Italian vocal music should be rejoicing this month.
Megalomania in mufti
Who needs sets and costumes anyway?
Lyrists’ club
For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals.
Teen queen
Handel’s first surviving musical composition is Almira, the opera he wrote in a hurry when shake-ups at the Hamburg opera house, where the 19-year-old had been playing in the violin section, left a planned production unfinished.
Pyramid scheme
Giulio Cesare at the Met proved an evening that added up to much more than the sum of its uneven parts.
Blow’s job
Despite baby-steps over the years, America’s musical scene, especially opera, remains decidedly un-HIP. (HIP: “historically-informed performance,” also called “period performance.”) While European opera houses turn increasingly to “original instrument” orchestras and specialist singers for seventeenth and eighteenth century works, this rarely occurs in the US.
Win a Free Ticket to Opening Night at the Met!
Quinn Kelsey and Lise Davidsen star in the Met's new Macbeth. We're giving away one ticket, so screw your courage to the sticking place and enter now!
I’ll take the fall
The days are getting shorter, but you can keep the prattle going this fall’s Talk of the Town! You will, you can, you must join in the discussion about: Great mezzo soprano performances (October),
Gained in translation (November), Teleport me back to… (December).
