Brett Dean‘s Of One Blood casts a well-trodden Tudor tale in a poignant, new light.
Yannick Nézet-Séguin, leading the Met Orchestra, and Joyce DiDonato continue their exploration of Mahler at Carnegie Hall.
Christopher Corwin speaks to rising bass-baritone Le Bu about his journey from Yancheng, China to the Met (with a stop in Wichita) and what important roles await him.
A.J. Goldmann on the Salzburg Festival’s revolving doors, both in its administration and in its delectable production of Il viaggio a Reims.
In Modena, Teodor Currentzis‘s Ring ohne Worte foregoes words but not gimmickry.
Sir Simon Rattle and the Bavarian Radio Symphony Orchestra strike (almost) all the right notes in their new recording of Mozart’s Idomeneo.
“Let’s start at the very beginning” of Kent Nagano’s pioneering complete Ring project which was recently discussed here in depth in Montagu James’s review of Die Walküre.
Chris’s Cache wishes Gundula Janowitz a happy 87th birthday today with three early live broadcasts of a favorite soprano in works by Pergolesi, Haydn, and Schumann.
Despite the ever-increasing media coverage of San Francisco’s “doom loop,” June 2023 will be forever remembered as the time where San Francisco was the opera capital of the United States.
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 crown jewel of this year’s Munich Festival is undoubtedly Richard Wagner’s Tristan und Isolde, which opened the Festival on June 29 and will close the Festival with an “Opera for All” screening on July 31.
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
“Trove Thursday” turns to a quintet of baritone/bass voices: Matthias Goerne, Simon Keenlyside, Georg Nigl, Thomas Quasthoff and René Pape performing works by Pfitzner, Sibelius, Adams, Martin and Schubert.
Wagner’s Ring is an artistic masterpiece that is peerless in its ability to continually reveal layers of musical, theatrical, and philosophical insight
Claudio Abbado passed away on the 20th of January five years ago, just months before I began my Ph.D.
Munich’s Bayerische Staatsoper’s victory lap at Carnegie Hall concluded Thursday night with a sumptuous Der Rosenkavalier spectacularly conducted by Kirill Petrenko
Met audiences might have to wait a very long time for Die Meistersinger von Nürnberg.
Trove Thursday looks forward to spring via Haydn’s beguiling oratorio Die Jahreszeiten (The Seasons) in a splendid rendition from the 1981 Salzburg Festival with Ileana Cotrubas, Francisco Araiza and José van Dam, James Levine conducting.
James Levine turns 72 this year. Even though his health has improved considerably in the past year and he may continue to conduct for a decade or more, it seems inevitable that he will step down as the Met’s Music Director sometime in the next few years to assume the role of Conductor Laureate.
New York City isn’t a bad place to live, operatically-speaking.
Passion propels more operas than almost any other human emotion; however, many musical dramas have a very different sort of passion—the final days of Jesus—as their subject.
“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.
“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?
The curious things about accepted wisdom is that sometimes it’s correct.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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