A Trove Thursday Mega-Post © featuring the wonderful American soprano Erin Morley in Orff’s Carmina Burana and Richard Strauss’s Brentano Lieder, plus extended live excerpts from Handel’s Orlando, Mozart’s Die Entführung aus dem Serail, and Meyerbeer’s Les Huguenots.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
Trove Thursday presents that perennial holiday favorite Berg’s Wozzeck.
South African Jacques Imbrailo’s high-lying baritone did much to highlight the lyrical possibilities of the title role of Hamlet, originally conceived for a tenor.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
With Liber scriptus came the biggest discovery for me, the vocal talent of Elena Stikhina.
Now it’s time to grab Albert Einstein for a lengthy swim.
This week we get closer to completing the operas of Benjamin Britten with The Rape of Lucretia.
An opera revolving around chastity vows, adultery, slut-shaming, lesbianism, transvestism and much more!
Angela Gheorghiu‘ s idiosyncratically alluring, sometimes maddening, always fascinating Floria Tosca inevitably became the evening’s unmissable raison d’être.
I guess you have spoken: “Bring us insane divas in operas we already know!”
I’m a long-time fan of the Opera in English series funded by The Peter Moores Foundation that started, fittingly enough, with conductor Reginald Goodall’s performances of Wagner’s Ring cycle recorded live from the London Coliseum and released by EMI
Celebrating Simon Keenlyside, the most popular artist on your alte Jungfer’s Mixcloud Web site.
Kate Royal withdrew as Mozart’s Contessa the other night (May 3) in Munich and we were forced to accept as substitute—gosh!—Anja Harteros
There’s nothing like a good performance of Verdi’s Macbeth and here is proof positive because this dvd is (almost) nothing like a good performance.
Ioan Holender was General Manager of the Wiener Staatsoper for nineteen years, the longest anyone has held this post, and the august institution honored him with the gala to end all galas in the final days of his administration. With the goal of commemorating each of the 40 new productions premiered at the Staatsoper during…
Don Carlo is truly a grand opera, Verdi’s biggest, no matter if it’s the four or five act version. It is a bitch.
After a rather long afternoon at the Met, a member of the cher public writes: “The Don Carlo final dress was worth catching.” Our spy has more to say after the jump.
The annual Richard Tucker gala came and went at Avery Fisher Hall with the usual quota of gaffes, wardrobe malfunctions, no-shows, too-much-shows, substitutions and surprise guests (well, guest). And sandwiched between the routine, the egocentric and the just plain dull were moments of true dementia, the moments that we melomanes live and die for. Most…
I have to confess that I overheard that line during the intermission of the Met’s new production of Amboise Thomas’s seldom-performed Hamlet based on Shakespeare’s oft-performed play. I couldn’t have said it better myself.
A brace of profiles in the March issue of Opera News engage the reader in a fascinating game of “the same, but different.” Simon Keenlyside and Paulo Szot are both baritones; both handsome, sexy men; and they’re both adept in classical and more modern musical theater forms. Both gentlemen are starring in new productions at…
Among the “auditions” that have come flooding in from the cher public are reviews of three very different productions of Don Giovanni. Your doyenne has taken the liberty of combining the three critiques into a single posting, but she urges you to remember, remember well the names of the authors of this troika of treatises.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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