I wonder why many New Yorkers have been led to believe that the only Handel conductor in the world is Harry Bicket.
A pair of Hasse works: the all-male oratorio I Pellegrini al Sepolcro di Nostro Signore, plus the popular serenata Marc’Antonio e Cleopatra.
While isolated opera-lovers intently navigate the deluge of streaming videos being made available, I’ve been listening rather than viewing.
A beautiful concert of 18th century sacred music arrived at Weill Recital Hall performed by the soulful Polish Wunderkind Jakub Jósef Orlinski.
Here’s a quick sprint through some recent (and a few maybe not-so-very-recent) Handel CDs that have been stacking up.
LoftOpera’s accurately but unpromisingly named Pergolesi & Vivaldi stumbled rather than soared.
“Trove Thursday” presents a recording of the rare L’Olimpiade featuring Joan Caplan and Rita Shane in the two leading castrato roles.
An opera revolving around chastity vows, adultery, slut-shaming, lesbianism, transvestism and much more!
Might Max Emanuel Cencic be the countertenor for people who hate countertenors?
As is happening increasingly in opera productions today (e.g., the Rosenkavalier in Stuttgart), the action of Moses und Aron at the Komische Oper begins some minutes before the music does.
The Deutsche Opera an Rhein production of Handel’s Xerxes (which is shared with the Berlin Komische Oper), though I saw it three nights ago, has taken a while to settle down in my brain.
A problem with scheduling an opera-intensive trip is that you don’t always hear and see the shows in optimum order.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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