While seasonally-awkward streams of Messiah abound, Trove Thursday turns instead to Berlioz’s exquisite L’Enfance du Christ from francophone forces including Stéphanie d’ Oustrac, Bernard Richter, Edwin Crossley-Mercer and Nicolas Testé (for once, sans sa femme).
Tonight at the Met should have welcomed Barrie Kosky’s production of Prokofiev’s The Fiery Angel; in its absence Trove Thursday steps in with a recent broadcast featuring this summer’s breakout star Ausrine Stundyte as the enigmatic Renata.
As Phaedra’s tragic, all-consuming passion for her stepson Hippolytus has fascinated artists for centuries, Trove Thursday offers two of its lesser-known musical settings: Pizzetti’s opera Fedra with Régine Crespin and Lorraine Hunt Lieberson performing the cantata Phaedra, Britten’s final vocal work.
Nathan Hull was an operatic Quixote who did not go it alone, but inspired bands of optimists, giving proper employment to the many worthy New Yorkers mad enough to study voice and pleasure rare elsewhere to those of us thrilled to take it in.
A broadcast of Weill and Brecht’s pungent Die Dreigroschenoper
Last night should have seen my favorite of this season’s revivals but instead Trove Thursday must step up with Jean-Marie Leclair’s irresistibly captivating Scylla et Glaucus conducted by Christophe Rousset.
Ester, Liberatrice del Popolo Ebreo was presented in concert on Thursday night by Salon/Sanctuary Concerts in the Brotherhood Synagogue on Gramercy Park, in proper time for Purim.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
“Trove Thursday” offers Offenbach’s irreverent La Belle Hélène featuring the beauteous Véronique Gens.
“Trove Thursday” presents Purcell’s remarkably concise Dido and Aeneas in a pair of fascinatingly different interpretations.
From the technical standpoint San Francisco Opera’s Billy Budd was pretty much flawless.
“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.
The most disappointing performance in 30 otherwise glorious years of William Christie and Les Arts Florissants visiting New York City.
Since 1985, from the Chicago Symphony at Carnegie Hall to the Welsh National Opera visiting BAM and from Chicago Lyric to New York City Opera to the Met, I’ve never encountered a bad Falstaff—or one that didn’t astound and delight me.
A double-barreled “Trove Thursday” birthday salute to Renée Fleming who turns 60 today.
Mark Morris’ saucy, psychedelic The Hard Nut has returned to the Brooklyn Academy of Music yet again this week for its 27th Christmas since the ballet premiered in Brussels.
“The heavens are telling” begins the famous chorus that ends the first section of The Creation.
BAM brings us a political opera featuring… literal balancing acts.
Sometimes the fates conspire, preventing an artist from recording the role for which he is his generation’s touchstone.
“Trove Thursday” turns for the third of Verdi’s four Schiller adaptations to a recent I Masnadieri with risen stars Lisette Oropesa and Russell Thomas.
While one sympathized with Matthew Aucoin’s urge to add his voice to the Orpheus canon it was difficult to figure out how his work complemented Gluck’s.
I had my head in my hands groaning in disbelief instead of joining in the general applause around me.
>Verdi’s marvelous yet neglected Luisa Miller finally returns to the Met later this month after an absence of a dozen years so “Trove Thursday” provides a preview.
Matthew Aucoin’s Crossing depicts Walt Whitman’s experience serving wounded soldiers in a DC infirmary and chronicles the period’s tragic effects.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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