Wedding from hell
Les Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
80 pieces since 2010 — at 7 companies, most often at Les Arts Florissants.
21 pieces as Les Arts Florissants — stats above show all coverage for William Christie.
View allLes Arts Florissants (lightly) stages two Charpentier rarities as a summer wedding gone wrong.
Les Arts Florissants present two ravishing programs in Brooklyn and Manhattan.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
Marc-Antoine Charpentier and Thomas Corneille’s Médée is a monument of the 17th century French baroque lyric tragedy.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
Dancing sheep! Flying sheep! Flying sheep who dance!
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
Why do we go to the opera? Because the world needs a reminder of the power of forgiveness, particularly in these dark and gloomy times!
Armide with a superbly grand Francophone heroine in Karina Gauvin and conducted by the always excellent Ivor Bolton.
“Trove Thursday” provides a live broadcast of Mozart’s rarely performed cantata Davide Penitente by Les Arts Florissants conducted by William Christie.
“Trove Thursday” has resurrected Hérold’s Zampa, ou La fiancée de marbre performed by Les Arts Florissants.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
Many large opera companies these days host valuable young artist programs dedicated to helping singers negotiate the difficult transition between leaving the conservatory and becoming full-time performing artists.
What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor?
Marc-Antoine Charpentier’s opera David et Jonathas, written for a celebration at a Jesuit school in 1688, premiered together with a Latin verse drama, Saul, now lost.
You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season.
The theatrical expression “You can’t tell the players without a program” was never more apt than when applied to Opus Arte’s release of Cavalli’s La Didone.
Every year New York City opera-lovers eagerly anticipate the autumn because it means that summer is finally over and we can get back to serious opera-going, and this September promises “The Battle of the A’s.”
An unlikely but adept English-language vocal stylist, Cecilia Bartoli, led the cast of a revival of the 2007 Zurich staging of Handel’s Semele, transferred to the Theater an der Wien for a short run. Director Robert Carsen takes an occasional liberty: Juno and Jupiter emerge as British royals, for instance, she a wellie-wearer and devotee […]
Maybe it’s just me, but every time I listen to well done French baroque music, my imagination flies to the opulent halls of Versailles. I fantasize about being amongst Louis XIV and his cohorts drunk on wine, good food, and better music, enjoying the life of a bon vivant. Few recordings have created this vivid […]
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