An exciting cast digs their claws into a heady production of La Calisto at the Théâtre des Champs Elysées.
Two of France’s leading Early Music ensembles recently visited New York City to perform music by some of the 17th century’s leading composers.
A stack of noteworthy recent baroque vocal CDs on my desk has been staring at me for weeks, so I’m tackling them on Handel’s birthday before the Met roars back into action beginning this weekend.
All things were, indeed, made new again, when Boston’s venerable Handel & Haydn Society brought Mozart’s Le nozze di Figaro to the stage, their first time doing so in its entirety, as their 2,576th concert on Thursday.
In the triumphant American premiere of Orlando Generoso at the Boston Early Music Festival last week, the hippogriff was among the many stars of the show.
“It’s not easy being green”: especially if you’re the two greatest Italian opera composers.
For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals.
Handel’s first surviving musical composition is Almira, the opera he wrote in a hurry when shake-ups at the Hamburg opera house, where the 19-year-old had been playing in the violin section, left a planned production unfinished.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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