Double double, toil and trouble, y’all, and happy spooky season from Slaylem. (It’s like Salem, but fun.)
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
You probably won’t leave Idomeneo ready to burst out in song, but what the opera lacks in melodic immediacy it makes up for in sheer virtuosity.
With its sumptuous wood paneling, frescoed ceilings, and various Gilded Age trappings, the Park Avenue Armory’sBoard of Officers Room certainly is not a bad place to spend Valentine’s Day—even better when it plays host to equally sumptuous music-making.
It seemed like such a great idea on paper.
It’s autumn in New York, baby.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
On Saturday at Alice Tully Hall, Julliard 415, the school’s top-flight period-instrument ensemble, was joined by students from the Marcus Institute for Vocal Arts and Juilliard Drama for a rare semi-staging of King Arthur.
For anyone who thought that Downton Abbey, with its plot lines divided between the gentry and their faithful (or not-so) servants was somehow unique, that particular tale, and lo its many variations, has been told in one form or another since Pierre-Augustin Caron de Beaumarchais put quill to paper in 1778 with La Folle Journée, ou Le Mariage de Figaro.
On this day in 1961 the Metropolitan Opera presented the historic debuts of Leontyne Price and Franco Corelli in Verdi’s Il trovatore.
Trouble was afoot from the first selection onward.
On this day in 1926 the Metropolitan Opera opened its season with La vestale with Rosa Ponselle in the title role.
Michael Spyres’s nobly moving Idomeneo wasn’t just a bravura triumph: singing strongly throughout, he brought more colors to his portrayal of the tortured king than I had experienced from others in the Ponnelle production.
For the season opener, Opera San José decided to explore the class conflict central to Le nozze di Figaro by transporting the opera to India, specifically during the British Raj.
“This used to be a funhouse… but now it’s full of evil clowns / It’s time to start the countdown…. I’m gonna burn it down”
Eleanora Buratto at this fully matured point of her career has a warm, creamy full lyric soprano that has the roundness and sweet warmth of a Freni but can also expand into the spinto power of a Tebaldi.
Teresa Zylis-Gara died in late August at 91 and Trove Thursday offers the Polish soprano in a wide-ranging collection of live material showcasing her great versatility.
I never fathomed I’d be writing words as these this soon.
In the month and a half leading to Bernard Haitink’s passing on October 21, my AirPods constantly channeled a musical festival of sorts centered on the Dutch giant’s expansive discography.
The Met recently submitted another eye-roll inducing entry for the Woke Olympics with their Women’s History Month slate.
Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.
Soprano Erin Wall died in early October, a month shy of her 45th birthday; Trove Thursday remembers her with a 2012 broadcast of Kaija Saariaho’s shimmering L’Amour de Loin.
On this day in 1956 Maria Callas made her Met debut as Norma.
We can delight in films that make use of motif to give opera-lovers an extra little jiggle.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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