Ilana Walder-Biesanz reports from The Santa Fe Opera, where Tobias Picker‘s latest opera falls short, a new Rodelinda scintillates, and sumptuous singing abounds across the entire repertoire.
This performance was introduced to me by Norman Treigle’s granddaughter —very fine mezzo-soprano Emily Treigle; while I was preparing the role of Olin Blitch, and it completely changed my understanding of the character.
William Guanbo Su and Ann Hallenberg are compelling in The English Concert’s presentation of Handel‘s Hercules at Carnegie Hall.
This performance features Samuel Ramey in what I consider one of the most powerful deliveries of this aria on record.
Though perhaps showing its age, a storied production of La bohème nonetheless makes a welcome return to the Los Angeles Opera
Before stopping at Carnegie Hall this weekend, The English Concert returned to the Bay Area last week with a fiery performance of Giulio Cesare
After an uneven gala performance of Tosca on Tuesday, I’m not sure what the Met means by “celebrating Puccini.”
Eastern Long Island remains surprisingly verdant even into the early fall.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
Oh, that slippery Don Giovanni—so elusive, so chaotic, so open to no end of interpretation!
The finals on Sunday seemed a bit like the modern-day operatic equivalent of the Roman colosseum.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
There are two delights here: a delectable score too rarely heard and an introduction at close quarters to half a dozen young singers ready for takeoff, indeed already flying.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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