Christopher Corwin picks the flowers of a baroque May in New York City with reviews of concerts starring Lauren Snouffer, Key’mon Murrah, and the Oratorio Society of New York.
American Bach brings out the operatic side of Bach in a program featuring sparkling vocal talents.
Christopher Corwin on three stylish sopranos delighting audiences live in New York and on recording in a trio of new releases.
On this day in 1981 the Metropolitan Opera broadcast the full three-act version of Berg’s Lulu starring Teresa Stratas.
No one who followed Trove Thursday will be surprised that Diva November on Chris’s Cache today features Ann Hallenberg and Sandrine Piau.
A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
We are in the midst of a titanic Beethoven onslaught prompted by the unstoppable need to commemorate the composer’s upcoming 250th birthday.
The full title of the opera pretty much describes the plot: Il mondo alla roversa osia Le donne che comandano.
As the first of the 2018 opera productions last Saturday, the Merola Opera Program chose Mozart’s rarely-performed early serenata, Il re pastore.
“Trove Thursday” offfers Joseph Martin Kraus’s superb Aeneas i Cartago, eller Dido och Aeneas—in Swedish!—starring a luminous Elisabeth Söderström as the doomed Queen.
“Trove Valentine’s Day” further stokes Semiramis-fever with another of the celebrated works about the infamous queen: La Semiramide riconosciuta, a superb 1729 opera by Nicola Porpora.
“Trove Thursday” presents a recording of the rare L’Olimpiade featuring Joan Caplan and Rita Shane in the two leading castrato roles.
To mark Mozart’s 260th birthday tomorrow, “Trove Thursday” offers his infrequently performed bucolic opera Il Re Pastore with the sublime Arleen Augér as its heroine and Edith Mathis as her shepherd-lover.
Ezio was an inspired choice for Boston’s feisty Odyssey Opera to open its “When In Rome” festival.
Since its founding 20 years ago, Washington, DC-based Opera Lafayette has devoted its considerable imagination and energy to reviving lesser-known 17th and 18th century French operas.
Might Max Emanuel Cencic be the countertenor for people who hate countertenors?
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.
Giovanni Battista Pergolesi’s only opera for Rome was written to an existing libretto by the great Pietro Metastasio, L’Olimpiade, which had already been set by Vivaldi the year previously.
Not only cursed to bear a name nearly identical to that of one of the greatest geniuses who ever lived, Leonardo Vinci also had the misfortune to die just three months after the premiere of his greatest opera, reportedly murdered with a cup of poisoned chocolate at the age of 36.
For all his historical importance Christoph Willibald Gluck remains one of the least known and performed of the great opera composers.
It’s hard to think of a rare work by a great composer more tailor-made for a twenty-first century reexamination than Mozart’s Il Sogno di Scipione.
“Hey the line forms, on the right dear / Now that Macheath’s back in town / You’d better lock your doors, and call the law / Because Macheath’s back in town.” So concludes Marc Blitzstein’s famous English translation of the song that opens Die Dreigroschenoper.
This Cleofide must have been conceived as a perfect target for haters of Italian baroque opera. While many might (grudgingly?) acknowledge that Handel is indeed an important operatic composer, here we have a virtually unknown name often relegated to dusty music history books. Not only has no one ever heard (nor probably even heard of)…
Long ago, in a galaxy far away – I mean, the era before supertitles became common in opera houses around the world – you could always tell the text-mad opera fan. He was the one who arrived early to the theater and spent the remaining minutes to curtain hunched over his libretto booklet, trying to…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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