9 pieces since 2014 — at 1 company, most often at Opera Lafayette.
Ahead of a special boozy, bawdy Valentine’s Day concert, artistic director of Opera Lafayette Patrick Quigley speaks with soprano Maya Kherani about her journey from MIT to rising American Baroque star.
Not everyone is happy about the Beethoven sestercentennial.
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.
Handel’s Radamisto returned to New York when Opera Lafayette movingly performed this early masterpiece.
For all the company’s good intentions this opera-dance combo was not one of its happiest outings.
The concert presented by Opera Lafayette at the Alliance Française last Friday and Saturday was devoted to music of witty, short-lived Emmanuel Chabrier, notably Une Éducation Manquée.
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.
America hasn’t exactly been vigorous about commemorating the 250th anniversary of the death of Jean-Philippe Rameau.
While many performing arts organizations have been reducing their schedules or even closing, Opera Lafayette, a Washington DC-based group dedicated primarily to 17th and 18th century opera, has proven remarkably prosperous.
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