Hell’s kitchen
Teatro Nuovo pays tribute to a historic New York production of Don Giovanni with a talented ensemble.
Pauline Viardot
20 pieces since 2009.
20
pieces
18
years
My soul is eager for this kind of pain
Ross Wassermann tracks the development of “Che farò senza Euridice?” — and “J’ai perdu mon Eurydice” — for this month’s Perspectives on an Aria
Change my mind about what makes a legendary artist
My contention here is more general than just a critique of an opera, a composer, or a singer. I argue that one cannot be a truly legendary artist unless one sings NEW MUSIC.
By Leyla Gender-Bender
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Is our singers learning?
Judith Malafronte on firebrand pedagogues, the old-school singing manual revival, and what many voice teachers are getting wrong.
A vision almost like a prophecy
Folks who have never attended a full-length, uncut Giacomo Meyerbeer grand opera have been known to pout and ponder: Why did the most popular opera composer of the mid-nineteenth century all but vanish from the stages of the world after a hundred years?
Anabaptism by fire
As revivals of the composer’s sprawling works represent a daunting expense for many opera houses, exceptionally cast recordings of such concert performances serve as valuable documents that foster appreciation for his achievements.
The color of Monet
When I saw that Richard Bonynge AC CBE, conductor and musicologist supreme, had authored a book titled Chalet Monet about the home he shared with his wife, La Dame Joan Sutherland OM AC DBE, in Les Avants, Switzerland I practically had to wipe my chin.
Good grief
There are no words superlative enough to describe this celebration of Orpheus’ grief, and I truly applaud San Francisco Opera for presenting such food for thought that will definitely resonate long after with me.
Sisters are doing it for themselves
Pauline Viardot‘s Cendrillon hews closer to the Perrault original than either Rossini or Massenet’s more familiar retellings and is dainty in conception as a salon opera for her students.
Cradle song
While seasonally-awkward streams of Messiah abound, Trove Thursday turns instead to Berlioz’s exquisite L’Enfance du Christ from francophone forces including Stéphanie d’ Oustrac, Bernard Richter, Edwin Crossley-Mercer and Nicolas Testé (for once, sans sa femme).
Drag me to hell
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.
Pretty little lyre
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.
The Isle is full of noises
Dell’ Arte Opera Ensemble theme this summer is women composers, which is timely, and the more to be applauded as likely to turn up unusual works.
Poetess without portfolio
Washington Concert Opera on the occasion of Gounod’s 200th birthday presented the American premiere of his first opera, Sapho.
Every day a little death
Neumeier adapted the story close to home, making Orpheus a choreographer and his wife a star ballerina.
Ladies’ Quadrille
It is much to be regretted that song recitalists stick to the tried, the true, the excessively familiar when the repertory of song is so vast, so full of treasures ready for the light
Queen sized
The last day of December a parcel arrived in the mail containing an absolute delight: “Semiramide—La Signora Regale.” One of best vocal recordings of 2014, this sumptuous 2-CD set on Deutsche Harmonia Mundi features the marvelous Italian mezzo-soprano Anna Bonitatibus and includes 90 minutes of rarely-heard music written for the legendary Babylonian queen.
Farinelli from heaven
My impossible wish would be to hear one of the great castrati who dominated opera for most of the 18th century.
Cold “Case”
First-time novelist Matthew Gallaway’s ardent love for Tristan and Isolde gushes through every page of The Metropolis Case. According to Gallaway, Tristan is the highest expression of human art, and the book functions effectively as the ultimate initiator in the cult of Wagner. The novel opens with a lengthy discussion of the opera in the […]
Castrata Diva
Cecilia Bartoli’s latest vanity release bucks protocol to present an album heavy on historical concept. The classical recording industry has long feasted on the popularity of operatic solo records, especially during the last few years of industry-wide decline in CD sales. Incidentally, as record companies run out of ways to sell the standard repertoire to […]