Je sens une force nouvelle
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
26 pieces since 2012 — in 9 roles, at 5 companies, most often at Royal Opera House.
Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
A performance of Gluck’s Alceste from Wiener Staatsoper in June 2016.
This month, both the Paris Opéra and the Opéra-Comique are mounting seminal works about unhinged anti-heroines who meet their downfall after falling head-over-heels for an unavailable, deeply unattainable man – Salome, in the case of the Opéra; and Armide, in the case of the Opéra-Comique.
I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.
An excellent Věc Makropulos at Opéra de Lille makes the case for the vitality and necessity of France’s regional companies.
Operettas always seem to be on the menu for New Year’s Eve, so Chris’s Cache joins in with a broadcast of Offenbach’s delicious La Grande-duchesse de Gérolstein featuring Stephanie Blythe in the title role.
De Nederlandse Opera’s remarkable 2011 feat of premiering productions of Gluck’s Iphigénie en Aulide and Iphigénie en Tauride on the same day and virtually the same set has been issued on a 2-DVD set by Opus Arte.
Krzysztof Warlikowski‘s Der Rosenkavalier at the Théâtre des Champs Elysées surpasses even Nigel Wilkinson‘s high ‘WTF threshhold’
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
Can it be nearly a quarter-century ago that an Italian mezzo-soprano in her early twenties recorded her first recital?
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