This Bard production, led by Leon Botstein, makes the strongest possible case musically, dramatically and visually for Smetana’s opera Dalibor.
Folks who have never attended a full-length, uncut Giacomo Meyerbeer grand opera have been known to pout and ponder: Why did the most popular opera composer of the mid-nineteenth century all but vanish from the stages of the world after a hundred years?
Traditional Christianity has always used the threat of dying unabsolved and going to Hell as a tool to get us not only to accept Jesus but also obey the dictates of the Church. Last week in New York, two classical works touched on the theme of repentance and absolution.
There is a strong case to be made that George Fridrich Handel is the composer most suited to the present moment.
Richard Strauss’ “Bucolic Tragedy in One Act” Daphne is one of his most beautiful and most frustrating works.
Like many composers of his generation, Ernest Chausson was enthralled by Wagner and he too turned to legend for his only opera, one that would consume him for final decade of his brief life.
You’d think by now I’d know better than to make snap judgments about an opera or a singer—but apparently not.
Mr. Peabody, that Leonardo among canines, claimed she was suffering from toothache.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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