Daring reimaginings of Cocteau and Wilde take the stage at the Los Angeles Philharmonic.
Ahead of his first season as the Music & Artistic Director of the New York Philharmonic, how much longer can — and should — Gustavo Dudamel stay quiet about the situation in his native Venezuela?
Jacquelyn Stucker talks to Kevin Ng about repertoire, tearing down the Fach system, and what it takes to make music from baroque to George Benjamin her own.
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
“Opera needs a reset. We think there needs to be a fundamental shift in the ecology.”
Iestyn Davies is, of course, a renowned Handellian, and he sang Handel’s music with clarity, restraint, and precision.
Evan clicked over to the his favorite music critic’s weekly column, “Slings and Arias.”
Iestyn Davies’s theatrical blandness combined with his vocal unsuitability for the role left a hole at the center of Rinaldo.
I’ve been picking away yet again at the mysterious symbiosis between an opera’s words and its music.
Just because one can write an opera based on a film, does this necessarily indicate that one should?
The 55th New York Film Festival presented the world premiere of Susan Froemke’s marvelous new documentary The Opera House in a special one-time-only screening at the Metropolitan Opera.
Anticipation of events like the Metropolitan Opera’s 50th Anniversary bash turns me back into the newly opera-soused kid who begged his parents to let him watch the highlights of the Bing Gala on the family color television.
Your alte Jungfer’s requisite Kuschelkatze (pictured) arrived on my doorstep in Mariahilf with the name of Tristan.
Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry. After several hearings, I’m still not convinced that there is an operatic version of Earnest.…
Fifteen years after his first parterre box interview, that criterion of countertenors David Daniels speaks of Oscar Wilde, Marilyn Horne, marriage and political art.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
Like Miss Adelaide the well-known fiancée in Guys and Dolls, the New York City Opera may be down but she’s not flat as all that.
Look, this is a very special piece of music for me. You were twenty once, right? You were self-righteous. You had your musical heroes, and your mind was being remolded every fifteen minutes or so by a rapid succession of new experiences that challenged your notions of what music could do.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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