The musical director of the Opera Royal de Wallonie at Liege is currently experiencing the early phase of a promising international career in music.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
“Die Zauberflöte is an opera!” “No, it’s the first musical comedy!”
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
Four fine Handel-centric concerts from the Morgan Library to Carnegie Hall and Lincoln Center proved a bracing antidote to pervasive Messiah-mania.
“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.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
On Saturday Juilliard 415 welcomed the sterling 10-member Belgian group Vox Luminis for a striking program of “Handel in Rome.”
My mother leaned in and quietly whispered,”Is that Leontyne Price?” to which I replied,”Shhhh!”
Christophe Dumaux quickly slipped in and out of town this weekend to sing Handel and Vivaldi in a marvelous gala concert with the Sejong Soloists at Zankel Hall.
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
New York fans of 17th century Italian vocal music should be rejoicing this month.
Can a surfeit of pleasure become—in the end—unsatisfying?
Endlessly extricating her from existing contracts then negotiating new ones must make being Sonya Yoncheva’s manager the hardest job in the music business.
“Trove Thursday” provides a live broadcast of Mozart’s rarely performed cantata Davide Penitente by Les Arts Florissants conducted by William Christie.
I don’t usually attend a performance of an opera I’ve known well most of my life expecting a revelation.
To mark Mozart’s 260th birthday tomorrow, “Trove Thursday” offers his infrequently performed bucolic opera Il Re Pastore with the sublime Arleen Augér as its heroine and Edith Mathis as her shepherd-lover.
“Trove Thursday” has resurrected Hérold’s Zampa, ou La fiancée de marbre performed by Les Arts Florissants.
This Sunday marks the 10th anniversary of the death of Lorraine Hunt Lieberson from breast cancer.
I was, to my astonishment, quite bored.
Jean-Philippe Rameau was nearly 80 when he composed his final masterpiece Les Boréades, but it had to wait over 200 years to reach the stage.
William Christie’s Les Arts Florissants made a much-anticipated appearance at Lincoln Center’s White Light Festival Saturday performing Theodora.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
×
Sign up for Parterre’s free newsletter.
Exclusive opera reviews, commentary, and top reads
delivered to your email weekly…ish.