Philippe Sly is sublime as Messiaen’s Saint François D’Assise in Salzburg, though Romeo Castellucci‘s production could brush up on its catechism.
The English Concert’s annual Handel tour brings Solomon conducted by Harry Bicket to the US beginning Sunday March 5. In anticipation, Chris’s Cache offers Solomon plus four other oratorios by the master: Belshazzar, Hercules, Saul and Jephtha, all via broadcasts for which I feel a personal connection.
Each year, when I take in a performance of Messiah by the Philadelphia Orchestra as part of my own holiday tradition, I hope it will spark some new and exciting feeling inside of me, or offer a new way of looking at the musical drama as a whole.
Philadelphia is a city famous for its musical institutions—so, of course, at this time of year Messiah performances abound.
Two productions at the Aix-en-Provence festival shared one look.
I have an idea (soon to be angrily debunked in the comments section) that Le nozze di Figaro is rarely a source of unalloyed bliss to the chronic operagoer.
Christopher Alden‘s production of Handel’s Partenope is so erudite and theatrically audacious and also such a rollicking ride, it’s hard to believe it isn’t crap.
For decades thousands and thousands have attended Handel’s Messiah (usually around Christmas or more appropriately near Easter) making it easily one of the most widely known works of classical music.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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