It is a physical pleasure to hear Kate Lindsey at close quarters.
Barbara Strozzi links two sensuous programs by L’Arpeggiata and Catapult Opera.
As Messiah season begins, Christopher Corwin reports on two of Handel’s forays into the Old Testament.
A brief concert at the Frick Collection teases the multifaceted artistry of Davóne Tines
Matthias Goerne‘s Die schöne Müllerin at Carnegie Hall offers a hoary and excessive collection of mannerisms and vocal tics that served the artist more than the music itself.
The Met Orchestra under Yannick Nézet-Séguin surges into summer with a mixed program at Carnegie Hall
Eli Jacobson on a luscious evening of early Strauss with Guntram at Carnegie Hall
The Met Orchestra Chamber Ensemble’s Das Lied von der Erde skirts the sublime at Carnegie Hall
John Yohalem wraps up Donizetti Month at parterre box with a look back at nearly six decades of Donizetti operagoing.
Chris’s Cache highlights the erstwhile Chicago Symphony Orchestra @ Carnegie series with not one but two starry operas conducted by Georg Solti: Salome with Birgit Nilsson and a performance of Moses und Aron
Maybe this is an obvious choice, but this is the sort of performance that every opera queen dreams of attending: an unknown work being performed by a cast of largely unknown singers.
As this is “Donizetti Month” here on parterre box, Chris’s Cache offers the recently deceased Paul Plishka and Opera Orchestra of New York with Carol Vaness in Anna Bolena and with Mariella Devia in the rarely heard Adelia.
As of late, the Bay Area has been blessed with a few high-wattage, high-profile recitals as if to compensate for the chilly temperatures and gloomy weather. Roughly a month after Lise Davidsen made an ebullient debut at Cal Performances, the Bay Area welcomed French soprano Natalie Dessay last Saturday.
When the birthdays start to pile up in the double digits in big round numbers, you start to examine your past and review what you have done with your life.
William Christie curates an evening of French Baroque music in a live broadcast from Carnegie Hall.
Despite not being very happy with the state of the world (and the union) and not looking forward to the New Year, this past December I took in many festive holiday offerings including a pair of oratorios.
If song recitals by opera stars Piotr Beczala and Asmik Grigorian sometimes came up short, Semyon Bychkov’s powerful rendition of the Glagolitic Mass instantly became one of the year’s highlights.
Montagu James reviews the US tour of the Kirill Petrenko-led Berlin Philharmonic
The New York Philharmonic podium has been occupied the past two weeks by Finnish conductors once thought to be top contenders for the ensemble’s music directorship.
Strike Up the Band! cried the brothers Gershwin (and book-writers George S. Kaufman and Morrie Ryskind) in the first of their three satirical, vaguely political operettas—sort of jazz Gilbert & Sullivan—that they dreamed up in the late 1920s.
The Richard Tucker Foundation Gala has always been a big annual celebration of the voice with an emphasis on big-voiced singers in big repertoire (not much Wagner usually, though…). Like so many reliable operatic institutions it has struggled for survival after the pandemic.
Aside from a tour with the LSO this spring, this was, I believe, the only time Antonio Pappano would be conducting in the US this season. This made the concert at Symphony Hall a real treat.
Lisette Oropesa, a product of the Metropolitan Opera Lindemann Young Artist Program, has not been seen much on the stage of the Met in recent seasons.
Inspired by Harry Rose’s recent fine polemic about verismo performance practice, Chris’s Cache offers one of Opera Orchestra of New York’s most exciting evenings: Zandonai’s Francesda da Rimini from 1973 with Raina Kabaivanska, Placido Domingo, and Matteo Manuguerra.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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