A convocation of mezzos–and a pride of tenors–produce hundreds of sixteenth notes in a bewitching Rossini showpiece
On June 20, a rather breezy, pleasant cool summer evening, the soprano Gabriella Reyes, tenor René Barbera and baritone Will Liverman took over the Summerstage space with a wide-ranging, ambitious recital program with Dimitri Dover tickling the ivories.
The current Met revival of Der Rosenkavalier, while not perfect, has much to feel joyful and excited about.
Beg. Borrow. Steal. Bargain. Cajole. Seduce. Threaten. Extort.
Minnesota Opera’s stab at boosting revenue with extra performances of something surefire never caught fire.
With Christmas Eve 2016 falling on a Saturday, the Met offers contrasting orchestral splendors at noon and 6 p.m.
Jean-Pierre Ponnelle’s production of L’Italiana in Algeri for the Met remains steadfastly ignorant of postcolonial theory.
This was a Rosenkavalier that aspired to excellence and almost achieved it.
As I mentioned in a previous post, one of my two favorite operas is Les Troyens,
Emilio Sagi’s production of The Barber of Seville is ungepotchket in the flesh.
It is easy to become overly identified with opera—as a cleverer friend of mine once noted: being a sports fan is an interest, but if you like opera, everyone thinks of it as a crippling obsession.
James Conlon, Music Director for the LA Opera, often does the pre-game lecture in the huge open space on the second floor lobby of the Dorothy Chandler Pavillion and it’s almost always a standing room only crowd.
Kitsch is alive and well in Rossini’s La Cenerentola at the War Memorial.
Our Own Sanford reports from this afternoon’s National Council Grand Finals Concert at the Met. First things first: No hunkentenors, but Edward Parks is a barihunk, and Christopher Magiera is almost a barihunk. Now to the important stuff. There were nine singers in the final, and I would say that 10 of them deserved to…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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